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April 19, 2007
At the center of Heidegger's philosophy of art is the claim that works set up a world that comes forth from and sets forth the earth. The concept of earth in Heidegger corresponds to artworks being embodiments of meanings and thus bound to the constraints of a medium; hence the concept of earth means to give unconditional legitimacy to what is arguably an utterly central feature of artworks.
But the notion of earth in Heidegger operates as a principle of transcendental opacity, as what conspires to make truth itself finite rather than infinite, and hence as a limit to the claims of disembodied reason and the dreams of technology.
Karsten Harries plausibly claims that "the presentation of the earth requires art, and because it does, Heidegger's postmetaphysical thinking does not lead to a philosophy of art but seeks to enter into dialogue with artists and poets . . ." What goes along with this thesis is the claim that the kind of art which can provide world-disclosure, "great art," is not now extant; there is art now, but not great art.
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