Abstract

Heidegger's philosophy between Being and Time and «The Origin of the Work of Art» shows a twofold consideration of production. On the one hand, Heidegger criticizes the ontological tradition for its orientation to the produced-being . On the other hand, he develops his own ontological conception of production. This paper focuses on the analysis of the latter consideration by showing its motivations, characteristics and scope. The main thesis is that the transition from Heideggerian Schematism to Heidegger's reflections on art is a transition from a visual to a plastic conception of the production of pictures