This suggests …
See as well Heidegger for Passover.
From Log24 on Epiphany 2012 —
A version of the Zemeckis Cube —
* See Turning Nine (Log24, Nov. 8, 2021).
Update of later the same evening —
The subtitle for the hashtag symbol at left is "Explore." Appropriate.
From the May Day 2016 link above, in "Sunday Appetizer from 1984" —
The 2015 German edition of Beautiful Mathematics , a 2011 Mathematical Association of America (MAA) book, was retitled Mathematische Appetithäppchen — Mathematical Appetizers . The German edition mentions the author's source, omitted in the original American edition, for his section 5.17, "A Group of Operations" (in German, 5.17, "Eine Gruppe von Operationen")—
That source was a document that has been on the Web since 2002. The document was submitted to the MAA in 1984 but was rejected. The German edition omits the document's title, and describes it as merely a source for "further information on this subject area." |
From the Gap Dance link above, in "Reading for Devil's Night" —
“Das Nichts nichtet.” — Martin Heidegger.
And "Appropriation Appropriates."
Ereignis in the Stanford Encyclopedia of Philosophy —
Further aspects of the essential unfolding of Being are revealed by what is perhaps the key move in the Contributions—a rethinking of Being in terms of the notion of Ereignis, a term translated variously as ‘event’ (most closely reflecting its ordinary German usage), ‘appropriation’, ‘appropriating event’, ‘event of appropriation’ or ‘enowning’. (For an analysis which tracks Heidegger's use of the term Ereignis at various stages of his thought, see Vallega-Neu 2010). The history of Being is now conceived as a series of appropriating events in which the different dimensions of human sense-making—the religious, political, philosophical (and so on) dimensions that define the culturally conditioned epochs of human history—are transformed. Each such transformation is a revolution in human patterns of intelligibility, so what is appropriated in the event is Dasein and thus the human capacity for taking-as (see e.g., Contributions 271: 343). Once appropriated in this way, Dasein operates according to a specific set of established sense-making practices and structures. In a Kuhnian register, one might think of this as the normal sense-making that follows a paradigm-shift. — Michael Wheeler, 2011 |
See as well "reordering" in Sunday evening's post Tetrads for McLuhan
and in a Log24 search for Reordering + Steiner.
The Philosopher's Gaze , by David Michael Levin, The post-metaphysical question—question for a post-metaphysical phenomenology—is therefore: Can the perceptual field, the ground of perception, be released from our historical compulsion to represent it in a way that accommodates our will to power and its need to totalize and reify the presencing of being? In other words: Can the ground be experienced as ground? Can its hermeneutical way of presencing, i.e., as a dynamic interplay of concealment and unconcealment, be given appropriate respect in the receptivity of a perception that lets itself be appropriated by the ground and accordingly lets the phenomenon of the ground be what and how it is? Can the coming-to-pass of the ontological difference that is constitutive of all the local figure-ground differences taking place in our perceptual field be made visible hermeneutically, and thus without violence to its withdrawal into concealment? But the question concerning the constellation of figure and ground cannot be separated from the question concerning the structure of subject and object. Hence the possibility of a movement beyond metaphysics must also think the historical possibility of breaking out of this structure into the spacing of the ontological difference: différance , the primordial, sensuous, ekstatic écart . As Heidegger states it in his Parmenides lectures, it is a question of "the way historical man belongs within the bestowal of being (Zufügung des Seins ), i.e., the way this order entitles him to acknowledge being and to be the only being among all beings to see the open" (PE* 150, PG** 223. Italics added). We might also say that it is a question of our response-ability, our capacity as beings gifted with vision, to measure up to the responsibility for perceptual responsiveness laid down for us in the "primordial de-cision" (Entscheid ) of the ontological difference (ibid.). To recognize the operation of the ontological difference taking place in the figure-ground difference of the perceptual Gestalt is to recognize the ontological difference as the primordial Riß , the primordial Ur-teil underlying all our perceptual syntheses and judgments—and recognize, moreover, that this rift, this division, decision, and scission, an ekstatic écart underlying and gathering all our so-called acts of perception, is also the only "norm" (ἀρχή ) by which our condition, our essential deciding and becoming as the ones who are gifted with sight, can ultimately be judged. * PE: Parmenides of Heidegger in English— Bloomington: Indiana University Press, 1992 ** PG: Parmenides of Heidegger in German— Gesamtausgabe , vol. 54— Frankfurt am Main: Vittorio Klostermann, 1992 |
Examples of "the primordial Riß " as ἀρχή —
For an explanation in terms of mathematics rather than philosophy,
see the diamond theorem. For more on the Riß as ἀρχή , see
Function Decomposition Over a Finite Field.
Haunting Time
"Macquarrie remains one of the most
important commentators [on] …
Heidegger's work. His co-translation
of Being and Time into English is
considered the canonical version."
— Wikipedia
The Rev. Macquarrie died on
May 28. The Log24 entry
for that date contains the
following illustration:
The part of the illustration
relevant to the death of
Macquarrie is the color.
From my reply to
a comment on the
May 28 entry:
From McKenna's afterword:
My own remarks on the hippie
scene seem appropriate as a
response to media celebration
of today's 40th anniversary of
the beginning of the 1967
"summer of love."
ART WARS:
Invitation to the Dance
While checking the claim of art historian Anna Chave that “the veil is an age-old metaphor used from Plato through Hegel and Heidegger for the concept of truth as aletheia or unveiling,” I came across the following essay:
Kardon writes very well. A related essay I particularly like is
Today’s entry on Kardon is part of my “ART WARS” series of journal notes. This title began partly as a joke, but it seems rather appropriate in light of Anna Chave’s claim that minimalism in the 1960’s was part of the “rhetoric of power.” See my later entry today on Tony Smith at the National Gallery.
If we are in a war of art,
are a powerful weapon.
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