Tuesday, August 04, 2015
In NDPR, Antonio Calcagno reviews Janae Sholtz's The Invention of a People: Heidegger and Deleuze on Art and the Political.
Sholtz argues that Heidegger wishes to think a new beginning for the human and for art. Reading closely Heidegger's essays on art and technology as well as his writings on Hölderlin, the reader sees how Heidegger provides the possibility of a new poetic dwelling: "Out of the relationship between art, the poet and the thinker, Heidegger posits the necessity of human essence as poetic dwelling, thus human beings become preservers of being -- though attunement, language and decision." If language is the house of being, as Heidegger claims, then language can open up possibilities of new beginnings as being itself is open-ended: the poet creates language and thus expands our understanding of ourselves, our world and our being.
That's all very well, but consider:
"Not poetry goes first, but in the transition the trail-blazer must be thinking. In future, however, art is the setting-into-the-work of truth (or it no longer exists at all) — one essential grounding of the essencing of truth." (Nicht die Dichtung ist das erste, sondern Wegbereiter muß im Übergang das Denken sein. Die Kunst aber ist künftig — oder sie ist gar nicht mehr — das Ins-Werk-setzen der Wahrheit — eine wesentliche Gründung des Wesens der Wahrheit. M. Heidegger Grundfragen der Philosophie: Ausgewählte 'Probleme' der 'Logik' Freiburger Vorlesung WS 1937/38 Gesamtausgabe Band 45 ed. F.-W. von Herrmann 1984 GA45:190 italics in the original).
It would be propitious to see more thinking today, but scholarship rules the day, and science per so cannot think its own presuppositions.
And remember also that Heidegger prioritizes language, to the neglect of music, about which he has nothing to say philosophically.
I imagine that even towards the end of his life, Heidegger only ever came across contemporary popular music as the kitsch broadcast on the radio. It would have been interesting to read his reviews of Can, Amon Duul II, and Kraftwerk ("the ordering of beats, sampled into ready reserve"). He missed that poetry would now reach people via pop music, trailblazing the new understandings of being: hippie utopianism, punk nihilism.

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