The central question in Heidegger's philosophy, early and late, is that concerning the meaning of being. Recently, some have suggested that Heidegger himself interprets being to mean presence (Anwesen, Anwesenheit, Praesenz), citing as evidence lectures dating from the 1920s to the 1960s. I argue, on the contrary, that Heidegger regards the equation between being and presence as the hallmark of metaphysical thinking, and that it only ever appears in his texts as a gloss on the philosophical tradition, not as an (...) expression of his own ontological commitments. In his early work Heidegger seeks to confront and even correct the traditional interpretation of being by challenging its narrow preoccupation with presence and the present. By the 1930s, however, he abandons the idea that there is anything to?be intrinsically right or wrong about with regard to the meaning of being and turns his attention instead to what he calls ?appropriation? (Ereignis) or the truth of being, that is, the essentially ahistorical condition for the possibility of all historically contingent interpretations of being, including the metaphysical interpretation of being as presence. (shrink)

_A comprehensive anthology of Heidegger's early essays._.

ABSTRACTThere is only one reference to art in Heidegger’s Being and Time but art is to the fore in his later writings. In this article the path from the earlier to the later writings is traced such that two surprising conclusions can be drawn: first, that Heidegger’s later thinking about art is powerfully pre-figured in the single reference to poetry in Being and Time; and, second, that Heidegger’s later thinking about art does not develop a new discourse on aesthetics but, (...) rather, a discourse that re-visions our self-understanding by elaborating an essential tie—already stressed in Being and Time—between our Being and dwelling. The discussion of Heidegger’s philosophy of art as a philosophy of settlement is developed through a renewed assessment of Heidegger’s famous interpretation of Van Gogh’s picture of a pair of old shoes. It is argued that the picture plays a twin role in Heidegger’s analysis: drawing together the threads of Heidegger’s engagement with our time as belonging to the technological age, while also illustrating Heidegger’s conception of the creation of art not as the production of an object but as involved in the opening up of a world. Together these threads invite us to reflect that, even though the “old rootedness” is being lost in this age, art might still contribute to creating a new settlement in our time—with technology. (shrink)

The fact that humans are responsible for climate change is certain. But the meaning of the fact of human responsibility is not disclosed by stating the fact: there is a distinction between the two principles, de facto and de jure, the right to state a fact and the right to assert the meaning of the fact. This distinction must be preserved in order that humans may interpret the nature of our responsibility, as a form of justice. In fact, the nature (...) of human responsibility can never be exhaustively determined. To recognise the fact of human responsibility for climate change may only lead us to acknowledge that climate change coincides with the plundering and exploitation of the earth as a natural resource, together with the industrial pollution which fouls our atmosphere. It is something else again to know precisely what must be done, how to think and write and interpret the science, or even what can be achieved before it is too late to prevent the worst effects of global warming. In this essay I analyse the central claims of proponents of the idea of the Anthropocene, arguing that they are arrogant and perhaps even naïve: in particular, the suggestion that humanity and nature have now fused to become a geological force is shown to be theological in its orientation. The essay also exposes Anthropocenology as a form of pedagogy, meaning that rather than opposing the neoliberalism that it attacks, Anthropocenology joins itself to the biopolitical institutions of education, seizing power in order to govern a totalized human population all the more effectively. (shrink)

What is a moment? While Heidegger considers the moment hermeneutically in the first division of Being and Time, he abandons the thoroughly hermeneutic account in an ecstatic analysis of time in the second. In this paper, I explore the moment in the direction of hermeneutic temporality and finite comprehensibility. I begin by describing how Heidegger’s ecstatic analysis by its very nature forecloses the possibility of the average, everyday constitution of the moment. I then attempt a broader recovery of hermeneutic temporality, (...) specifically instantiated in Gadamer’s temporality of the festival. In so doing, I hope to re-establish the Augenblick as the moment of finite comprehensibility. (shrink)