Paths, artifact and art in Heidegger

14 Jan

The work Origin of the work  art (1936) is a text by Martin Heidegger, where the question of art and work, which moves to the artifact, and which is Heidegger himself in motion, when writing a collection Forest Paths.
Instead of writing a work written Forest Paths (Holzwege) in which an additive was added before the epilogue in 1956.
A view of Heidegger that the “artifact” of art, is a privileged way of revealing the quotidian, reveals itself as a poetic understanding of the world, and brings the idea of meaningless “way” of reach, duration and legitimacy of art.
Is this a question of knowing the origin of the work of art? Is the origin in the artifact, the observer or the artist? According to his question, “What is in the work, is it at work?” (Heidegger, 2002, 31), where it is possible to see the “way” already.
A medieval philosophy called a “quidity,” as it is, was about the nominalists like Ockham and Scotus Duns with the royalists, as they debated realists and ontologists like Thomas Aquinas, who began the discussion about the existence of universals, and the bottom is about what is essence.
For Heidegger is a source of information that is being, that is, its essence.
The origin of the algorithm of its essence, as well as its work on the provenance of its essence (Heidegger, 2002, p.7), which one wishes to extrapolate to technique and its relation to essence.
Heidegger in The Binding of a Work of Art follows the publication of the art article, the singular work, the emergence of the work of art from the artist’s creative medium, as well as the origin of the work is the artist (Heidegger, 2002, 61), but does not use the sense of anthropological origin.
As an example, the effect of aesthetic experience, a man observes the shoes on the picture (Van Gogh, 1886), in each time, the image itself is updated, it is a sense to the virtual, since the virtual is something that is updated, and the art was originated by the artist, but it completes itself in the observer and manifest on the artefact.
The updating of this ontological foundation of Heidegger, which sees the origin of the artist, is in Rancière when he speaks of the “Emancipated Spectator” (2008), which opens the discussion about “the theoretical presuppositions that put the spectator question at the heart of the discussion about relations between art and politics “(Rancière, 2012, p.8), essential for the present day.
Rancière shows two premisses about the spectator that are false, the first which is the spectator as opposed to knowing, and the second that is contrary to acting, and calls this the paradox of the spectator who is, in the case of theater, a “non-theater without spectator “(RANCIÈRE, 2012, p.8).
We propose in opposition to the ontotantropotechnical status of the work of art, or of its artifact, it exists while it is being, so the artist lends his ontological status as anthropos (man), and expresses it as a technique.


HEIDEGGER, M. A Origem da Obra de Arte, Lisboa: Edições 70, 2002 (Portuguese Edition).

RANCIÈRE, J. O espectador Emancipado, São Paulo: Editora WMF Martins Fontes, 2012 (Brazilian Edition).


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