Art, The Happening From Being

Looking back the history of art and aesthetics, the art as aesthetics, religion and philosophy are manifestation of the reason in different ways. The nature of modern aesthetics grounds on Being, which is the essential horizon of the comparative study on philosophy of art of Marx and Heidegger. For Marx, Being means the sensuous existence, the sensuous production, especially the activity of labor. While Heidegger brought Being as Being into the theme. The happening of Being is the opening of the truth. Modern thinking just as the traditional thought's thinking of the whole of the metaphysics, owns world, history and language as it's the distinctive of being. Art is the happening from being, which must be interpreted in the perspective of world, history and language. This dissertation discusses the inner difference and relations between the thought of Marx and Heidegger according to the perspective of world and history. The former part of it, which contains chapter one, two, and three, probes the relation between art and world, and the latter, which comprised of chapter four, five and six, cogitates the relation between art and history.Chapter one: The world, for Marx, which is different from sense perception, is the sensuous world, human-sensuous existence and activity. It is with the activity of labor that Marx revealed the secrets of beauty. By virtue of free sensuous activity, man is distinct from the animal, and creates the world and man himself. Marx said that man creates according to the law of beauty. But for Marx modern world is the world of alienation, that is, of the double deprivation of the aesthetic sense and aesthetic objects. Hence Marx expounded view of basic distinction, which man must differ from man-himself, through man not be a employee but a communist. The communalism, as the completed naturalism and humanism is the true freedom of human sense and realization of the humanity of the senses. The basic problem of Marx's aesthetics is that: the sense is not aesthetic yet, but is supposed to be aesthetic.Chapter two: The experience of the world, which is his beginning and end, is decisive for Heidegger too. From the early to the late period, he gained variousexperience of the world, which unified in the clearing. The world of his early period is the world of Dasein. The Da of Dasein is the clearing. The conflict between a world and earth enkindled by the work of art, in his middle period, foments the original conflict of the clearing and concealing. In the late, the conflict is replaced by Innigkeit of the things and the world. Language calls the world and things into their mirror-play, where earth and sky, divinities and mortals expropriate and appropriate themselves. The world worlds, and things thing. Where the four folds gathered is the Ortschaft of the clearing. For Heidegger, the truth sets itself into a work of art, which setting up a world and setting forth of earth.Chapter three: The world of alienation, for Marx, rooted on the activity of production, will be overcome through extreme tolerance of production itself. So the sense of man can be aesthetic. On the opinion of Heidegger, the nature of Dasein is the ecstatic. In his early time, Dasein shows itself being-towards-death from the falling, by virtue of temporalization of temporality. In the middle, the ecstatic, i.e., out-standing means standing out of itself and standing in the lighting of Being, by way of breaking off the relationship of Dasein to the everyday world. The ecstatic determined by the clearing, in the late experience, is in the triple out-standing and never fallen by guarding Being. So Heidegger criticized Marx's production theory, which stemmed from anthropology, since anthropology demands a priority of consciousness, while above all, the Ek-sistence of Dasein has to abandon this priority. Marx revolutionarily looked 'thing' as 'relationship' and analyzed the relationships of production and communication agglomerated in the 'thing', and furthermore analyzed the entirely social life. But for Heidegger, man should poetically treat thing, that is, abandon the attitude about the usefulness of thing to free it and man himself.Chapter four: The crux of the historical materialism, for Marx, is 'history' rather than 'materialism'. This history is the history created by man, and is the history of his productive life. The unique entity and momentum of the history is the existence of man. With the division of labor and private system, the history transits to the world-history, and the capitalism provides necessary conditions for this transition. There stands the adaptive and relatively independent ideology on the structure ofeconomy. Marx, in the double perspectives of philosophical-anthropological and sociological-critical, pointed out that art as the special ideology should accord with the true-aesthetic principle to reveal the realities of the society and contradictions of the history, and to direct the liberation and aesthetic of man. In the history of production, Marx probed the rupture between the rapid development of material production and the richness of human's internal potential. The problem of art is how to understand the eternal charm of anciently Greek arts, that is, the modern signification of ancient arts.Chapter fiver: Unlike Marx, the history, Heidegger regards history as history of Being or Truth, which showed itself as the history of metaphysics and of the oblivion of Being in the first beginning. The history of the first beginning commenced in the doctrines of Plato and Aristotle, went through Cartesian thought and arrived at its end, Nietzsche's philosophy. Correspondingly the idea of truth had completed its transformation from the idea of correspondence to that of certainty and then rightness. The philosophy reached its completion, an end gathering the most extreme possibilities. Heidegger overcame the metaphysics and then transferred thinking from the first beginning to the other via reminiscence of the history of the first beginning. What has not been thought yet is what should be thought in the future. Art happens from Being, i.e. art is history in the essential sense that it grounds history. The nature of art is poetry, and the nature of poetry is the founding of truth in language. We understand founding here in a triple sense: founding as bestowing, founding as founding, and founding as beginning. Art with bestowal becomes the original place of Dasein of a historical nation. Whenever art happens, history either begins or starts over again.Chapter six: The essential similarity of Marx and Heidegger is the anti-experience of the world history, which for Marx expressed as the alienation of labor, while for Heidegger as homeless in the poor time. "Return home" means, for Marx, to produce the Communism by production, and to overthrow the productive relationships based on the productive powers, though the amplitude development of productive powers as the material technology and of the human capabilities as thecore of the productivity. But Heidegger deemed the nature of technology must be investigated via "concealment-unconcealment". The concealment of Being in the modem technology manifested as "StelF'and "Ge-stell", through which man has been challenged and been determined. Ge-stellen, which means the unconcealment in the sense of challenge, is the accomplished oblivion of the truth of Being. So the world history disintegrated as fragments. The salvation power does not rest on Marx's production, which on the contrary is the origin of "Zwange". For Heidegger, art calls man into the original relationship of art to man, and only thinking can prepare for the transcendence of technology, by virtue of drive it into its being. While for Marx, art direct the emancipation of man, but the realistic liberation lies in the activity of production.Conclusion: Standing on the horizon of modern thinking, we can conclude that both Marx and Heidegger thought the question of Being, which is forgotten by western philosophy. Of course, Being here is not the one in the sense of Heidegger, but the one in the sense of distinguishing from traditional reason. It is on the issue of Being, both all them encounter the questioning and challenge by deconstructism. Derrida said the Word of Marx is ontological, and also he replaced the first and last original place of Being by difference. We instead try to describe the limitations of Marx and Heidegger. What we need to think is what not have been thought, i.e., the language which speaks about itself to itself. Art happens from Being, and art is the Saying and play of the language.