Hockney and his vision

 

Visual Arts

Something very arestomgh  about David Hockney#s art  eidegger’s philosophical critique of aesthetics, showing why he thinks aesthetics follows from modern “subjectivism” and leads to late-modern “enframing,”

so what views is enframed here, the UK village its security, the UK flag waved in beautiful colour

Aesthetics”: Beyond the Oxymoron

Perhaps the first thing to be said about “Heidegger’s aesthetics” is that Heidegger himself would consider the very topic oxymoronic, a contradiction in terms like the idea of a “square circle,” “wooden iron,” or a “Christian philosopher” (Heidegger’s own three favorite examples of oxymorons).[1] Treating Heidegger’s thinking about art as “aesthetics” would strike him as incongruous and inappropriate because he consistently insisted that the “aesthetic” approach has led Western humanity to understand and experience the work of art in a way that occludes its true historical significance

Nor can Heidegger’s thinking be sympathetically classified as “anti-aesthetic,” because he suggests that any such anti-aesthetics would remain blindly entangled in aesthetics (in the same way that, for example, atheism remains implicated in the logic of theism—both claiming to know the unknowable); in his view, any merely oppositional movement remains trapped in the logic of what it opposes

Heidegger’s own understanding of the work of art is resolutely populist but with revolutionary aspirations. He believes that, at its greatest, art “grounds history” by “allowing truth to spring forth” (PLT 77/GA5 65).[4] Building on Heraclitus’s view of the pervasive tension of normative conceptual oppositions (good/bad, worthy/worthless, noble/base, and the like) that undergird and implicitly structure our sense of ourselves and our worlds, Heidegger imagines the way an ancient Greek temple at Paestum once worked to help unify its historical world by tacitly reinforcing a particular sense of what is and what matters:

It is the temple-work that first joins together and simultaneously gathers around itself the unity of those paths and relations in which birth and death, disaster and blessing, victory and disgrace, endurance and decline obtain the form of destiny for human being. …The temple first gives to things their look and to humanity their outlook on themselves. (PLT 42–3/GA5 27–9)