Drawing on Heidegger’s The Origin of the Work of Art and Art and Space, this article explores how people experience Harpa, a world‐renown work of architectural art. Following partners from Henning Larsen Architects, the firm responsible for supervising the design process with the artist Olafur Eliasson, I trace the impact of spatial experience from architectural experts to people struggling to articulate their encounter, unpacking links between Harpa and the quiet transformation of tourists, the stacking of stones, and the performance of (...) art in a space that is widely regarded as a work of art in its own right. Folding Heidegger through Harpa, the text explores art as a non‐representational way of approaching phenomena that evade other forms of understanding, opening a space of revelation: an immeasurable distance in which the transcendent interconnectedness world and earth step forward. (shrink)

Between 1860 and 1880, scientists in the United States, Argentina and Russia accompanied military expeditions on the northern Great Plains, in Patagonia, and in northeastern Asia. The extent to which the scientists were able to remain at arm's length from the slaughter of war is seen in the publications resulting from their travels. In the context of consolidating or extending national territory during the modern age, military patronage did not invalidate the research findings of attentive naturalists, who adhered to transnational (...) disciplinary norms. There is only weak evidence to suggest that local prejudice determined the form of natural knowledge stemming from the expeditions. (shrink)

One of the most prominent notions in Heidegger’s thinking about art is that of the earth. This paper probes the phenomenological potential of Heidegger’s concept by turning to the work of contemporary British artist Andy Goldsworthy. Drawing from Heidegger’s theoretical writings as well as his analysis of a poem by C.F. Meyer in “The Origin of the Work of Art” and his 1936–37 seminar on Schiller, I show that Goldsworthy’s sculptural art exemplifies different phenomenal traits of the “earth.” To supplement (...) Heidegger’s discussion, both Husserl’s claim that the earth defines the “spatiality of nature” and the role of the earth in Hegel’s philosophy of nature are taken into account. (shrink)

Law and literature, an exemplary product of the textual turn in the study of culture, has found itself challenged by the more recent visual turn in critical thought. However, debate hitherto has been largely based on a two-dimensional approach to the visual. By going beyond the metaphor of the ‘legal screen’ in favour of a theory of the ‘statuesque’, this essay adds a new dimension to the way we think about the force of law in culture. Drawing on eighteenth-century and (...) contemporary aesthetic theory, and twentieth- and twenty-first-century public art, the article presents an account of the political aesthetics of law in which a place for the possibility of justice may be made. (shrink)

The paper examines the personalization of information technology from the p.c. onwards to the 3-D printing and mobile technologies in order to show that the current process of technological evolution puts the human personality in the centre of its functionality. This new centre opens the discussion about authenticity and in-authenticity of human Dasein, since the common element of these new technologies is that they employ faciality and personalization in a new condition of ready-to-hand and present-at-hand mode. By applying the Heideggerian (...) modes of being on the process of personalization new forms of digital ethics appear. I suggest that the above take place in the navigation memory of the net, in the creativity of the self through the 3-D printer, and in the localization of the “psyche” in the hard drive disk. The paper defends the possibilities of an ethical, authentic and sheltering personalization, where human beings and information technology responsibly engage. (shrink)

The following essay compares and contrasts Martin Heidegger’s Being and Time with an earlier lecture course that he delivered in the Winter Semester of 1919/2020 entitled Basic Problems of Phenomenology. Heidegger says explicitly that the pre-phenomenal basis for his analysis in Being and Time is “entities” in their equipmental totality. He calls these the “preliminary theme” for his analysis of Dasein. While the analytic of Dasein is the first step in posing the question of Being, the pre-phenomenal basis for the (...) analytic of Dasein is, he says, “entitities” or “equipment”. I argue that this can lead to certain misunderstandings, especially when he talks about nature and human relationships. In Basic Problems, Heidegger’s focus is not on “entities” or “equipment” but rather on experiences. In this earlier work, he is trying to develop a language that can capture the intensity of lived-experience, suggesting an experiential vibrancy to Dasein that is implicit but not thematized in Being and Time. I aim to show that while Heidegger turns away from the term “life” in Being and Time, his understanding of Dasein can still draw on the intensity and immediacy of experience so prominent in this early lecture course. (shrink)

A brief overview of the current status of the scholarship on Heidegger and contemporary art and of the contributions included in the special issue.