Review: Art Matters, Karsten Harries' Commentary on Heidegger's OWA (original) (raw)
Related papers
Introduction. Heidegger and the Work of Art History
Heidegger and the Work of Art History, 2014
Contents: Introduction, Amanda Boetzkes and Aron Vinegar Part I Between Ontology and Ethics: The return of discrete, autonomous artworks: Heidegger, Harman, and algorithmic allure, Robert Jackson The interior void of things: Heidegger and art of the 1980s and 1990s, Ileana Parvu (translated by Shane Lillis) Giovanni Battista Moroni, portraiture, and the ethics of early modern conversation, Bronwen Wilson. Part II Techniques of World-Making: Heidegger. ";From the dark opening...", Michael J. Golec Art, materiality and the meaning of being: Heidegger on the work of art and the significance of things, Philip Tonner 'Leaning into the wind': poiesis in Richard Long, Diarmuid Costello. Part III Heidegger's Unthought History of Art: Shapes of time: melancholia, anachronism, and de-distancing, Matthew Bowman The gaze of 'historicity' in Schongauer and DA rer, Michael Gnehm 'A dwelling place': sensing the poetics of the everyday in the work of Pierre Bonnard, Lori Nel Johnson. Part IV Making Claims and Aesthetic Judgment: Reluzenz: on Richard Estes, Aron Vinegar Interpretation and the affordance of things, Amanda Boetzkes Sein und Zeit im Raum: perspective as symbolic form, Whitney Davis Index.
Art within the Turn: The Topology of Western Heideggerian Research on Art and its Issues
2021
Heidegger officially ventured into the realm of art in the 1930s, and his philosophy of art exhibited a dual turn. On the one hand, he approached art differently from traditional metaphysics' interpretations of beauty and aesthetics, resulting in what is known as the "historical turning". On the other hand, art, as a part of his exploration of the question of Being, also underwent an internal turning. This paper centers around "The Origin of the Work of Art," delving into Heidegger's discussions on art, artistic creations, and artists, as well as the relationship between art, philosophy, truth, reality, technology, and poetry. These reflections propelled the development of aesthetics in the 20th century, not only reflecting on the fate of beauty and aesthetics but also exploring the possibilities within aesthetics.Heidegger's artistic philosophy is deeply rooted in his contemplation of Being, which ensures the legitimacy and potentiality of art. His artistic ideas have a profound impact on the fields of aesthetics and philosophy, pointing to the destiny and function that art should embrace.
Aesthetics is an elusive discipline which is characterized by its extraordinary variety of definitions and approaches and has been criticized heavily by Heidegger in his phenomenological analysis. One of his main concerns was rooted in his strong concern of subjectivism, as he accused the modern aesthetics of separating the artwork from the world engagement. Thus, the main focus of this essay is to shed light on Heidegger’s main work discussing art named Origin of The Work of Art. In this work, he discusses the aesthetic approach of placing the relationship with artwork within the frameworks of the subject-object dichotomy. Moreover, I will try to bring forth a solution in which the artwork is approached phenomenologically and thus shaping its meaning as a ‘Unity of artwork with creator’ (Ladopoulou).
Journal of European Studies, 2017
(Post-print allowed by the publisher included OR ask for a copy) This paper examines and critiques Heidegger’s repudiation of aesthetics in his essay ‘The Origin of the Work of Art’ and claims that his alternative approach to artworks in the essay must be understood as a theory of aesthetics and, more particularly, of aesthetic use, which delineates the inseparability of senses and sensations. The paper analyses Heidegger’s explicit remarks on aesthetics in the epilogue, discusses his criticism of the aesthetic thing-interpretation at the beginning of the essay and concludes with some critical observations on Heidegger’s own aesthetics. While critical of Heidegger’s separation of the equipment from the artwork, the paper claims that Heidegger’s significant contribution to the field of aesthetics must be sought in his focus on the attenuation of the subjective element in aesthetic experience.
Heidegger: The Question of Art Origin
Shanghai: Journal of Academic Monthly, 2002
【Abstract】 Heidegger's "The Origin of the Work of Art" is an important document on ontological aesthetics and an inseparable component of his later thought. However, due to ideological differences, Chinese academia has seriously misunderstood it. Given this, the author, per the text, provides a positive interpretation of some topics, such as the ontological significance of the origin, the problem of objectification, the identification of thing properties, and the truth and beauty of artworks, in order to correct the misunderstanding and authentically grasp Heidegger's thought. 【Key words】Art work, origin, objectification, object nature, truth and beauty, textual interpretation
Disclosing Worldhood or Expressing Life? Heidegger and Henry on the Origin of the Work of Art
What and how is the work of art? This essay considers Heidegger’s venerable question by way of a related one: what exactly is the essence of the painting? On way to critiquing the Heideggerian conception of the work of art as what discloses a world, I present Michel Henry’s competing aesthetic theory. According to Henry, the artwork’s task is not to disclose the exteriority of the world, but rather to express the interiority of life’s pathos—what he calls transcendental self-affectivity. To clarify Henry’s view, I examine his analysis of the abstract painting of Kandinsky. After doing so, I illustrate the significance of Kandinsky’s abstractionism, by showing how the representational paintings of Paul Signac, Andrew Harrison, Alphonse Osbert, and Henry Ossawa Tanner attempt to express the invisibility of subjectivity. Next, I reveal how Heidegger’s characterization of the work of art in terms of world-disclosure overlooks the work’s task of exalting life. In closing, I accordingly suggest that Henry’s view of painting—one that locates its essence in Life rather than the world—not only presents a competing account to the Heideggerian view of the origin of the work of art worthy of our attention, but one that explains how and why art can contribute to overcoming our age’s nihilism.
Critical and Progressive Account of Heidegger's The Origin of the Work of Art
Essex) is a researcher in aesthetics and art history specializing in 20th century theory and practice analadop@gmail.com ) Looking at the relation between the OWA 1 and Being and Time, one is not immediately taken by the differences. Karsten Harris argues 2 that, in the OWA, Heidegger presented art as the missing link between the undeveloped call for a "hero" in Being &Time (Heidegger M., trans. Macquarie J. Robinson Ed.Οxford: Blackwell, 1962), and the presentation of art and artists as approximating that role. In this paper, I will look in more detail at this sense of continuity between the central ideas of B&T and the OWA. Whilst I am centrally interested in the progressive elements of the essay with regard the overall development of Heidegger's thought, this is necessarily tempered by the way Heidegger still thought about the main preoccupations of Βeing and Time. Heidegger conceived Truth as a fundamental disclosure to human beings, not something you accrue via enquiry. Dasein (an individual human being), has a unique character that allows him/her to be open to other beings, and therefore open to receive this disclosed Truth. A stone or a spider does not have this unique character, he argues, because they are not open to receiving a thing as it is. Dasein is open to
Heidegger's Conception of World and the Possibility of Great Art
The Southern Journal of Philosophy, 2018
Influential interpretations of Heidegger's Origin of the Work of Art focus on the view that great art is massive and communal-typically structures like temples and cathedrals. This approach, however, faces two interpretive problems. First, what are we to do with artworks in the essay that clearly are not monumental or communal, such as van Gogh's Shoes? Second, how should we understand our experience of works such as the Greek temple, which once were but are no longer central in this way? Heidegger himself says that great art of the past becomes either a relic of the past or a mere object of aesthetic experience, but his description of his own experience with a Greek temple seems to contradict this. To understand Heidegger's views on art-including his explicit claims about the limited vitality of great art of the past and his unintentional case for the continued power of great art of the past-it is crucial to distinguish, first, between Heidegger's notions of world and worldhood, and, second, between two senses of what makes art great-world disclosure and world gathering. Doing so allows us to make better sense both of the essay as a whole and the potential continued vitality of great art of the past. It is the temple-work that first fits together and at the same time gathers around itself the unity of those paths and relations in which birth and death, disaster and blessing, victory and disgrace, endurance and decline acquire the shape of destiny for human being.
Re-Reading Heidegger's "The Origin of the Work of Art"
A brief presentation to the "Thinking through, with and against Heidegger's "The Origin of the Work of Art" event organised by Flat Time House and the Centre for Philosophy and the Visual Arts, King's College London (Sept., 2018).