Heidegger: Poeisis, Althea, Enframing.

I had more recently dismissed Heidigger's work on phenomenology as an option due  language difficulties of his writing style and my grasp of  phenomenology,  and I am concerned about his biography....


 but his work  on "the question concerning technology"  could link back to my focus on Poeisis in my MA Design Project..(Althea & Poeisis)). and his concept of Enframing<> could be linked to my "Context Frame" design
Also tracing the  root of the word "techne" back to Greece is a good academic foundation that connects to my original design project.
I could possibly use some of his terms / definitions (Eg techne) to redefine my definition of random expressive flow in the context of poeisis.




there is some local interest... Joss who honestly writes

"I’ve got to say, it’s one of the most difficult texts I’ve ever read, despite going between two translations in the hope of a little clarity. However, while he seems to spin a syntax of his own at times, Heidegger’s overall message is pretty clear and simple: The poetic roots of technology have been obscured by mechanisation that has compelled us to harness nature’s energy into an accumulated homogeneous reserve that conceals the true nature of things. In this world, humans too, have become resources, slaves to a process that constructs an appearance of truth rather than a revelation of the real. The solution is to question and confront technology through its forgotten roots in the arts."


Heidegger concludes that technology once shared the root techné with a broader practice of poiésis. Technology (techné) brought forth and revealed that which was true and beautiful through the poetics of the fine arts. It is in the realm of the arts, therefore, that we can practice the questioning of technology in the hope of revealing the truth, which modern technology habitually conceals through the order it imposes on the world. #


The "truth"  being (I think )  the "unfolding performative nature" of our shared world being, our planet earth.... as contrasted with viewing the planet as a resource....(Standing reserve)


this relates to the  potential problem of the simple performative  (Eshleman) being utilised by forces instrumental rationality(Habermas)... playing  competitive  "language game" characters in the flat plane of post-modern discourse (Hicks)  as it refers us back to the common collective identitiy of performative power cutting off the the competitive power source at the root?

Against an orientation that investigates all aspects of the world and assumes that the world can be grasped and controlled through measurement and categorization, Heidegger upholds an alternative: art. He takes us back to a moment in the history of the West before the onset of enframing, back again to ancient Greece, where the concept of techne--which, as we have seen, is the source of our word "technology"--included both instrumentality and the fine arts, that is, poiesis. Heidegger imagines a classical Greece in which art was not a separate function within society, but unifying force that brought together religious life, political life, and social life. The art of ancient Greek culture, according to Heidegger, expressed humanity's sense of connectedness with all Being. Art was a kind of "piety;" it was the outgrowth of humanity's care--in the sense of "stewardship"--of all eIn our own time, Heidegger suggests, the paradox of how "enframing" can hold within it a saving power can be resolved by viewing the artistic or poetic orientation to the world as the alternative dimension of "enframing." The poet looks at the world in order to understand it, certainly, but this reflection does not seek to make the world into a "standing-reserve." For Heidegger, the poet takes the world "as it is," as it reveals itself--which, for Heidegger, is the world's "true" form (remember that the Greek word for truth, aletheia, literally means "revealing" or "unveiling").
"Truth" for Heidegger is a "revealing," the process of something "giving" or "showing" itself. Art is the realm in which this "granting" of the world is upheld. Art's relationship with the world is, in Heidegger's view, different from technology's in that art is less concerned with measuring, classifying, and exploiting the resources of the world than it is with "taking part" in the process of coming-to-being and revealing that characterize the existence.
We should not interpret Heidegger to be suggesting that we all go out and become artists, but rather that we incorporate more of the artist's and poet's vision into our own view of the world. By doing so, we can guard against the dangers of enframing, and enter into a "free"--constantly critical, constantly questioning--relationship with the technology that is constantly making new incursions into our lives.

 "The Question Concerning Technology" as it appears in Martin Heidegger: Basic Writings, ed. , trans. William Lovitt, New York: Harper & Row, 1977.

pages 314-317