GI@CINTO PL@
THE ABYSSAL CLEARING:
THE NOTHING AND THE SUBLIME
A NASCENT ONTOLOGY OF THE WORK
OF ART
ABSTRACT
Ch.1
GIVONE'S INTERPRETANCE: THE AB-GRUND, ANXIETY AND A NEW PARADIGM OF THE SUBLIME.
Ch.2
CONTEMPLATIONS OF THE SUBLIME BETWEEN CLASSICISM AND
THE BROKEN PATHS
Ch.3
KANT'S ANALYTIC OF THE SUBLIME: MATHEMATICAL AND DYNAMIC SUBLIME.
Ch.4
A NASCENT ONTOLOGY OF THE WORK OF ART
-THE SUBLATION: ANAXIMANDER-LONGINUS-PLOTINUS-KANT-BURKE
FRIEDERICH-HEIDEGGER-PAREYSON-PROUST
-THE IMAGO SUBLIME: SCHELLING-HÖLDERLIN-FRIEDRICH
-MUSIC AND PHILOSOPHY: PLOTINUS-PLATO
-PROCLUS-THE MYTH OF KALIPSO
-THE SUBLYME EVENTUALITY AND SUBLIME SUBLATION IN WORLDLINESS
-HERACLITUS
-THE EPIGENESIS OF THE SUBLIME DYNAMIS OR TRANSDYNAMICS TRANSUBLIME
-PLATO AND ARISTOTLE
-LEIBNIZ AND THOM
-PLOTINUS AND THE SUBLIME SUBLATIO
ABSTRACT
Givone's interpretation of Kantian aesthetics, the unfolding and occurrence of the theme of abyssality, outline a new paradigm of the sublime: we are in the presence of the arkè or priority or singularity of a thesis on the sublime, arising from the lessons and narrative poetics of our author.
An outline emerges of a gestell or structure or framework of the work, along the path of an analytic of being-there or dasein-analytik, present-absent in Kant, to interpret the analytic of beauty and the analytic of the
sublime.
The myth of the sublime, as unstable, fluctuating beauty in ecstasy, present-absent, is revealed only in the infinite or the endless or the abyss.
A preliminary overview will be offered of the contemplations of the sublime in classicism.
It will finally lead to an ontology of the sublime or sublyme as Plotinian sublime-beauty or Heideggerian sublime-beauty, already co-present in the first hermeneutic of the Longinian or Burkean sublime.
Givone's reading casts, within the thought of worldliness, the occurrence of abyssality.
What follows is infused with that depth and salience.
Ch.1
GIVONE'S INTERPRETANCE:
THE AB-GRUND, ANXIETY AND A NEW PARADIGM OF THE SUBLIME.
Which philosopher contemporary to us has indicated the path for undertaking a Hermeneutic and Ontological Interpretation, and not just an Analytic of beauty and the Sublime?
When confronted with the Sublime or the Ek-stasis of the Sublime, one faces an Ecstasy but also an Ab-grund, an Abyss, thus a non-Being, Nothing, the Null.
This entails not only fear, dread, pleasure, displeasure but, as Heidegger says, the sense of Anxiety.
Because in front of the Sublime the Nothing, the non-Ground, is present-absent.
It is possible to outline a new paradigm in the lessons and writings of S. Givone.
First, however, a comparison with the state of the art is useful.
A metamorphic, dynamic, and plastic dimension was registered in various forms at the beginning of the twentieth century in art (e.g., expressionism and futurism).
Science, with a painting, measures the coordinates with respect to the walls of the room, questions the chemistry of the pigments, goes down to the quantized levels of molecules and atoms that yield the colors.
It did not ask what the artist's message is.
The configurations of Epistemic Knowledge and Hermeneutic Ontologies have focused only on the Ontic, the narrated entities.
Hermeneutic and Intentional Interpretance does not bother to provide a Grounding for the New Epistemics, the Imaginary Physis, Ontological Temporality; much less does it give foundations to the
ontological structure of the Work of Art.
Classical Ontology has eluded the non-mathematical grounding of the Matesis, the non-logical grounding of Logos, the non-mythic of Mitos, the non-epistemic of Episteme, the non-technical of Techne, the non-serial grounding of the Work of Art.
It is therefore useful to undertake the Interrupted Path of the Ontology of the Work of Art, studies and research on the Ontology of the Work of Art.
In Aristotle, metabolè (change, overturn, unexpected catastrophe) is the transition between relatively stable states, it is the culminating moment in the structure of the tragedy and is connected to catharsis, which is itself a change of state in the viewer.
Forms have their own dynamics, and beside stability domains one observes situations in which small changes cause big transformations; then a new form emerges, that is, a catastrophe occurs, a new level of structural stability of the phenomenon.
Morphogenesis studies such processes, and the changes in shape are called catastrophes.
According to Heisenberg's Uncertainty Principle, in physics, to see a micro-object we must act on it with instruments that change the conditions of the system.
Furthermore, the retinal image of the perceived object continuously varies, yet it is perceived as the same object as long as its variations do not perturb it too much; at the perceptual level, this is the problem of structural stability and change
“catastrophic”.
The physics of curved space (Einstein) and the uncertainty principle (Heisenberg), and regarding the morphology of the living (d'Arcy W. Thompson), form does not appear as a given but as a process, as the outcome of metamorphoses governed by geometric-topological laws.
Thom's catastrophe theory, the study of morphogenetic processes, structural stability, and transition, catastrophe, to other structurally stable states, has shown itself to be rich in interesting scientific and philosophical consequences.
Petitot demonstrated how the epistemological significance of Thom's theory is compatible with Kantianism: was not one of the cornerstones of the Critique of Pure Reason the insistence on the constitutive nature of scientific knowledge in geometry and mathematics, that is, in Kantian language, that mathematics consists of synthetic a priori judgements?
The scientific models of physics, according to Thom, cannot explain the behavior of morphogenetic phenomena, of the production of forms, while catastrophic models provide intelligibility to phenomena apparently very different from each other.
Modern nonlinear dynamics (from Poincaré to Thom) established that trajectories in geometric space are structurally stable only for a certain interval, outside that interval one jumps
onto different trajectories with a rapid (bifurcation) and sometimes discontinuous (catastrophe) transition.
Non-Euclidean geometries (knots, tori, rings, etc.) concern themselves with transformations. Space is regarded as a "body in transformation," and geometry assumes the task of finding metamorphic laws.
In string theory, besides electrons and quarks, there is another level of structure, a small filament of vibrating energy; these filaments are "folded," coiled, in a configuration
describable through the geometry of knots or ribbons.
The paradigm of complexity, in turn, contrasts to the linear trajectories of classical physics, unexpected forms and phenomena whose evolution we cannot predict linearly from initial conditions.
The perspective of complexity asserts, against the deterministic-causal ideal of scientific explanation in classical physics, that reality is an organism, a knot of relationships of disordered, unpredictable behavior: indeterminacy is constitutive of becoming.
The complexity model is characterized by: critique of the mechanistic ideal of knowledge and the notion of knowledge as relation, and as the knowledge of relations, of organized sets or dynamic systems with interacting parts.
The paradigm of complexity contrasts to classical physics' linear trajectories, unexpected forms and phenomena whose evolution cannot be linearly predicted from initial conditions.
Theories of physics, geometry, sociology, economics, mathematics, and biology are governed by unstable and fluid epistemologies; what is sought to be analyzed is turbulence and chaos.
Biology introduces systems of morphophenogenetic analysis and prediction.
“The central problem of biology is the issue of form, of Morphogenesis, from Goethe to Geoffroy-Saint-Hilaire to d’Arcy Thompson.
One should ask if the majority of biological forms are not forced, due to their internal stability, into a principle of fixity, so that the leap from one type-form to another should occur very quickly, catastrophically” (Thom, Rivista di Biologia - 2002).
Art has worked on the idea of creation, more than cloning, long before biology.
Ch.2
CONTEMPLATIONS OF THE SUBLIME
BETWEEN CLASSICISM
AND
BROKEN PATHS
It is preliminary, an analysis of the contemplations of the sublime in classicism, as sublime of mathesis or Pythagorean or Platonic, already eventuated by Anaximander both in the Apeiron and in the archè, as sublime of infinite quanta or of endlessness and limitless: present in Kantian analytics as mathematical sublime or gegenstand sublime, that is as a sublime entity in transcendence, present only in the imagination of sublime purity as sublime and noble magnanimity or magnitude, always beyond the sensible and perceptible as if it were the Proustian loftiness.
The Apeiron of the quanta is never irreversible: there is always an infinitesimal endlessness, an abyssality without a bottom where the sublime eventuates as clinamen or ab-scissa of the archè or the event or the singularity, or ereignis.
To this quantum vision was added a dynamic of the sublime
interpreted by the thought of Aristotelian dynamis, as categorical coercion of the Heraclitean panta-rei: here purity is catharsis and its phenomenology elicits that feeling or tension or intermittence that will be so fortunate in the thought of Burke and Kant, as to eventuate the phenomenon of the sublime or the noumenon of the sublime, that is, the phenomenal and noumenal sublime.
But no one has yet asked why there is a muse of beauty and not a muse of the sublime.
Perhaps the thought of Plotinus comes to our aid in outlining in the myth of Kalypso the unveiling of the myth of the sublime, as beauty in unstable, fluctuating ecstasy, present-absent, or which is only revealed in the infinite, the endless, or the abyss of the non-entity of the ether, or that always hovers enthusiastically, in the always ab-scissa eventuation
of sublyme-being in mythical loftiness as sublime-beauty or sublime-beauty.
The Seynweg will lead the Ontology of the Work of Art toward the Clearing free from the dross of the Will to Power, of Technè, of the Technical Epistemics victim of Calculative Thinking.
To reach the Broken Paths, therefore, the non-technical grounding of Technè and the non-epistemic Foundation of Epistemics, the Physis of the Work of Art will have to eventuate in the ontological structure
of Living Being.
The place where those events became historically evident is the Gestell of the Work of Art as Epistemè of the "Being-at-hand", poetic know-how.
In a survey of the Ontology of the Work of Art, an Uninterrupted Path will be unveiled crossing both Topological Matesis, Epistemic Technè, and that Epistemè abandoned by classical Ontology to Nihilism without horizon, meaning or salvation.
Unfortunately, for the architects of the oblivion of the Ontology of the Work of Art, that presence also unfolds in the Foundations of Calculative Thought of Technè and in Hermeneutic Deconstruction and even in classical Ontology.
The Worldly Epistemics cast oblivion only to understand the truth of the Entity.
The Work of Art will never be only the Epistemic Entity, infinitely interpretable according to narrative Hermeneutics, but always reveals, ever-present, the Ontological Difference of Being.
The Truth of Being resides in the course in the Image of the Work of Art as Ontological Singularity that is unveiled from Nothing, from its continual being the non-Entity, without ever being Nothing.
The Work-of-Art Being will thus be free from Entities and from Nothing, to be only a work, without Technique nor Epistemics.
The Work of Art appears as Being that re-exists in the Abyssal Clearing: to re-exist as a Work of Art not necessarily Epistemic, Hermeneutical or Ontic but authentically Ontological or Ontopoietic.
Ontological Difference leaves Epistemics the Destiny of Worldly Entities and guards the Aletheia of the Physis of Being as Iconic Temple-ness of the Ontological Topology of Being.
This is the Ontological Difference of the Temporality and Templaticity of the Work of Art.
Here Difference is revealed even in handmade works, whatever their image, sound, or voice.
The artifact of Dasein conforms to the Temporality of Worldly Entities without revealing its Physis Ontology.
Art for Dasein or Art-for-Worldliness always and in any case privileges the Ontology of the present and conforms to the Epistemic Truth of the World.
A new horizon comes to light and will be characterized by the revelation of the Clearing where Being dwells free from the Categorical Imperative of the Will to Power of Epistemè and from the necessities of Calculating Thought, mechanically adjusting Being to Entities or Ontic Worldliness.
In its revealing, the Ontology of Art instead leaves Being free in all fields of knowledge.
Art loves to hide but at the same instant, by epistemic or hermeneutic paradox, Art-Being loves to unveil itself, loves to discover its Abyssal Clearing.
Hölderlin, in his ontopoiesis, comprehended the Ontoepistemè as thought that dwells poetically in the space of the Clearing created by the dismitedness of the Work of Art, in the proximity and distance of the
gods in flight.
While Epistemics-Technè reveals only a Variety of Truth, the de-epistemic Ontoepistemic of the "Being Created" by Art unveils the Infinite Ontohermeneutic Varieties of Aletheia.
The work of art is com-prehended and com-prehends us: it is the Ontoepistemic of the image that is discovered because Epistemè-Technè has cast oblivion on their ontogenesis to allow the assertion
of the imperative will to power, epistemic ideals, the morphology of worldly entities.
The ontoepistemic never unveiled itself in classical thought and ontology, even less so in hermeneutical epistemology, since it always kept itself encrypted and guarded in the being of the work of art.
Only with the eventuation of poetic thought did it become possible
for the ontoepistemic to be understood even by the thinking-being, as well as by the poetic musagete.
The musagete comprehends poetically-deepistemically: never does it try to assert or impose a metaparadigm for understanding physis and matesis.
There is an ontosonance and an ontovision that eventuates in the ontoepistemic presence of the musagete.
The ontovision of being is the ontological vision of being-art, the ontological resonance of the aletheia of being understood only by the ontorisonance of the musagete.
The epistemic or the ontic deny the evidence and the existence of that understanding: the existence of ontovision and ontosonance, since for them the only possible vision is that of worldliness.
Neither classical thought, nor classical Heideggerian ontology have revealed that oblivion, nor will the quantum or
fractal metaepistemology, probably dominant in the future, unfold it.
One is already beyond classical epistemology thanks to the presence of the meta-paradigm of the quantum physis of imaginary void, morphogenesis of negative or imaginary matesis, as a possible paradigm of
future metaepistemics.
In the course of temporality, the metaepistemic has never unveiled itself or, present-absent, been discovered only in the thinking-being of the poetic thought as the understanding of the being of entities
of the work of art.
It is possible that the metaepistemic allows the realization of a new epistemic-hermeneutic meta-paradigm.
Perhaps a new meta-epistemic of technè will emerge, such as to allow the appearance of a meta-paradigm beyond classical
metaphysics-hermeneutics-epistemics.
The ontoepistemic which already exists and will unfold only as an understanding of the ontoparadigmatic physis and mathesis, there will never be an ontological paradigm to unveil the being of the work of art.
With BeingArt, there is eventuation of the un-concealedness of Aletheia, never adequately ontically or epistemically: withdrawn from the evidence of Worldliness but
visible to the contemplation of the Musagete.
When one reads or listens to a poem, when one contemplates an image, when the unheard-of hovers from the talent of the Musagete, the un-hidden truth of the dis-in-verified Being-Art is at work.
In a nascent Ontology of the Work of Art, it is possible to answer the enigma of the Destiny of Being.
The quality of Destination unveils itself as a Path that the Work of Art traces, or casts into Worldliness, as the Ontological Destiny of Being.
The Work of Art eventuates the Destiny of Being.
The Ontology of the Work of Art uncovers the Grounding of the Ontological Difference present both in Being and in the Dasein of Entities before they are understood by the Epistemics of Worldliness.
The originality of a Work of Art is understood: its Ontological Destiny never suffers the Epistemic "Dictatorship" of the Being of Entity.
That eventuality may be tangent to Technè but never deconstructs the Being Art.
The Ontology of the Work of Art will never be a simple aesthetics of Dasein since the senses are unfoldings of Dasein and can only perceive Ontic Entities.
Epistemic or Hermeneutic Truths conform to Truths, the Truth of the Work of Art reveals the Being of entities and more.
There is an Ontological Difference in the Ontic of Truth: an Epistemic Truth founded on the models of Matesis and a Narrative Hermeneutic Truth.
Being-Art, instead, eventuates Ontological Aletheia as the enacting of Being in the Work of Art.
Only the Truth enacted by the Work of Art reveals both the Hermeneutic and Ontological Epistemic of the Being Art of Being.
Truth is always present in the Work of Art, beyond history and the Cloned Entities of Technè.
How is it that only the Work of Art is able to transcend the course of history or Temporality?
Among the many hypotheses, the most ontological is the care of the Truth of Being.
Being in action leaves freedom of being to Art, and to the World; leaves Technical Nihilism free to clone itself: without deconstructing itself in its Gestell, in its ontological structure.
Even when WerkSein withdraws to leave freedom for worldly developments to Epistemic Entities, it dwells un-hidden, present-absent, Being-Art.
Its un-hiddenness eventuates in subtracting itself, in casting itself beyond the Nihilism of Worldly Technè, beyond the sunset of Epistemic and Hermeneutic Paradigms.
The Being-Art of the Abyss, of abGrund eventuates the Icon of the Ontological Clearing as Ontopia of undecidable Being, never completely interpretable, nor epistemically grounded in the Imperative Categories of Technè or Hermeneutics.
Only the WerkSein, the enacting of the Being of Art, allows the Musagete to embrace the listening of the Work of Art.
Only the Musagete unveils the mystery or enigma of the Work of Art.
In Mitopoiesis, the Musagete listens to the enacting of Ontological Truth, the only one that allows Inter-Agency with the Being-Art of Truth as a Work of Art created by Being, that eventuates
the "Being created" by the Musagete.
"The Being-created" of the Work of Art eventuates the Ontological Epistemic of Technè and reveals the Event of Aletheia as Gestell of the
Destiny of Being-Art.
In the beginning there was an Ontotopia of Gestell where the Ontological Epistemic and Hermeneutic eventuated, never disappeared in the unfoldings of the "Being-Created" by Art, but there guarded from the incursions of the
Will to Power of Ontological Epistemic.
That presence reigns and withholds the Epistemic Ontopoietic to enact the Morphogenesis of Technique, of craftsmanship, of knowing how to do worldly and cloning.
Only thus do the Epistemic and Hermeneutic unfold as images of the history of Worldliness.
That Event inaugurates the Oblivion of the "Being-Created" by Being, as Work of Art of Being, only to be Work of Art of Technè,
first, and then of artisanal Technique.
It is the Oblivion of the "Being-Created" by Being Work of Art that provides the Grounding of Epistemic Technè and still prevails.
But the "Being-Created" by Being does not disappear completely: it is forgotten in Epistemic Technè to eventuate in the Hermeneutic Ontology-Epistemics of Being-Work of Art.
A new Difference eventuates within the Ontology of Being, perhaps epigenic in the enacting of Being Art, and unfolding its Gestell even in Epistemic or Hermeneutic Technè.
The enacting of Truth lays the Foundations for the enacting of the Destiny of Being as an Uninterrupted Path of Being that creates Gestell and Gegenstand, but also the Physis of Grund and ab-Grund.
For classical Epistemics and Hermeneutics, that Destiny appears as if it were a non-Event.
A more attentive reflection concerning the Ontology of Events reveals the Indeterminacy of Paradigms in the infinitesimal dimensions near the quantum void.
Here, however, the intention is to reveal the Dis-Epistemic Ontology of the Work of Art-disart before the Event of Technè-Epistemics.
The Being-Work of Art dis-installs exactly when it eventuates, since it withdraws from the Ontochrony of the epistemic, hermeneutic, ontic,
onto-poietic sayable: it is given to the Physis as a work no longer of Physis.
The Ontological Difference in Epistemè uncovered the Epistemic Eristic or epistemological Hysteresis of their Destiny.
One was revealed as the errancy of the other, one cast the other into oblivion.
Art eventuated as the being-errancy of Epistemè-Technè, and Epistemic revealed itself as the errancy of the Dasein of the musagete.
The errancy of Being in being a work of art and the oblivion of Being in Technè-Epistemics were thus revealed.
That Event discovered also the Clearing of Being.
Only thus does Being cease to be just another story of Nothing or the Null or the non-Being, as epistemics have handed down to us, but is revealed as the living history of Being Created by Being, or
of the imaginary of being as ontology or Imaginary Ontoepistemic.
In creating works of art, Being frees, from Technè-Entities, the icon of the unveiledness of the Aletheia of Physis-in-being before being
encrypted in the Entity or non-Entity, or in Nothing or nothingness, or in mundane epistemics.
Letting a work of art be is letting the Truth of Being be-in-being, the unveiling of Physis, the Aletheia that
com-prehends and lets us com-prehend as the ontoepistemic
of Being's Destiny.
Being-Arte is the occurrence of Being-Aletheia, comprehensible only by the Ontoepistemè or ontology-epistemics, since Technè-Epistemè has turned toward Ontic adequacy.
The de-oblivion of ontoepistemics enables the emergence of a new meta-epistemè-technè, whether as a new metaphysics-technè or in continuity with it?
So far, the de-oblivion of ontoepistemè has not yet enabled any hermeneutic metaepistemology as the understanding of being work of art does not allow itself to be caught in fundamentalist epistemological-hermeneutical metaphysics.
Ch.3
KANT'S ANALYTIC OF THE SUBLIME
Mathematical Sublime
and
Dynamic Sublime.
In Kant's Analytic of the Sublime, there is the phenomenology of the Mathematical Sublime and the Dynamic Sublime.
The Mathematical Sublime is quantitative (one, infinite and totality); the Dynamic Sublime, mainly that of nature, is the phenomenology of Aristotelian Dynamis or the dynamism of nature in its most terrible and extreme forms such as storm, thunder, tempest, lightning, namely phenomena that arouse awe and fear.
Kant, resuming Burke's hypotheses, dwells on the Feeling of the Sublime as the alternation of pleasure-displeasure, fear and awareness of the superiority of the "I think" in relation to
material phenomena.
For Kant, that awareness contributes to making the thinking being superior to nature's events and thus, in the Sublime, there is a co-presence of intuition, sensibility but also pure thought or
thought of transcendence.
In Pseudo-Longinus, the material phenomena of Physis were already noted, albeit rhetorically, as the Ek-stasis of nature: that is, nature presents itself in its ecstatic forms.
Heidegger was among those who most thought of the temporal Ek-staticity of the world.
Neither Kant nor Heidegger thought of the Sublime as Physis' Ek-staticity, an interpretation already present in Pseudo-Longinus and Burke when speaking of Ek-stasis.
The phenomenon of Ek-stasis in the Sublime is important because it allows an Ontological Interpretation of the Sensible, and not just a Hermeneutics or Analytic of the Sublime.
Ch.4
A NASCENT ONTOLOGY OF THE WORK OF ART
In a Nascent Ontology of the Work of Art, it is possible to answer the enigma of the Destiny of Being.
The quality of Destiny unveils itself as a Path that the Work of Art traces, or casts into Worldliness, as the Ontological Destiny of Being.
The Work of Art eventuates the Destiny of Being.
The Ontology of the Work of Art uncovers the Grounding of the Ontological Difference present both in Being and in the Dasein of Entities before they are understood by the Epistemics of Worldliness.
The originality of the Work of Art is understood: its Ontological Destiny never suffers the "Dictatorship" of the Epistemics of the Being of the Entity.
That eventuality may be tangent to Technè but never deconstructs the Being Art.
The Ontology of the Work of Art will never be a simple aesthetics of Dasein, since the senses are unfoldings of Dasein and can only perceive Ontic Entities.
Epistemic or Hermeneutic Truths conform to Truths, the Truth of the Work of Art reveals the Being of entities and more.
There is an Ontological Difference in the Ontic of Truth: there is an Epistemic Truth founded on the models of Matesis, and a Narrative Hermeneutic Truth.
Being-Art, instead, eventuates Ontological Aletheia as the enacting of Being in the Work of Art.
Only the Truth enacted by the Work of Art reveals both the Hermeneutic and the Ontological Epistemic of the Art-Being of Being.
Truth is always present in the Work of Art, beyond history and the Cloned Entities of Technè.
How is it that only the Work of Art manages to transcend the course of history or Temporality?
Among the many hypotheses, the most ontological is the care of the Truth of Being.
Being in action leaves freedom of being to Art, and to the World; leaves Technical Nihilism free to clone itself: without deconstructing itself in its Gestell, in its ontological structure.
Even when WerkSein withdraws to leave freedom for worldly developments to Epistemic Entities, it dwells un-hidden, present-absent, Being-Art.
Its being un-hidden eventuates in subtracting itself, in casting itself beyond the Nihilism of Worldly Technè, beyond the sunset of Epistemic and Hermeneutic Paradigms.
The Being-Art of the Abyss, of abGrund eventuates the Icon of the Ontological Clearing as Ontopia of undecidable Being, never fully interpretable, nor epistemically grounded in the Imperative Categories of Technè or Hermeneutics.
Only the WerkSein, the enacting of the Being of Art, allows the Musagete to receive the hearing of the Work of Art.
Only the Musagete unveils the mystery or enigma of the Work of Art.
In Mitopoiesis, the Musagete listens to the enacting of Ontological Truth, the only one that allows Inter-Agency with the Being-Art of Truth as a Work of Art created by Being, who eventuates the
"Being created" by the Musagete.
"The Being-created" of the Work of Art eventuates the Ontological Epistemic of Technè and reveals the Event of Aletheia as Gestell of the
Destiny of Being-Art.
In the beginning, there was an Ontotopia of Gestell where the Ontological Epistemic and Hermeneutics eventuated, never disappeared in the unfoldings of the "Being-Created" by Art; rather, there guarded from the incursions of the Will to Power of Ontological Epistemics.
That presence prevails and withholds the Epistemic Ontopoietics to enact the Morphogenesis of Technique, of craftsmanship, of mundane and cloning know-how.
Only thus do the Epistemics and Hermeneutics unfold as images of the history of Worldliness.
That Event inaugurates the Oblivion of the "Being-Created" by Being as Work of Art of Being only to be Work of Art of Technè,
first, and then of artisanal Technique.
It is the Oblivion of the "Being-Created" by Being Work of Art that provides the Grounding of Technical Epistemics and still prevails.
But the "Being-Created" by Being does not completely disappear: it is forgotten in Technical Epistemics to eventuate in the Hermeneutic Ontology-Epistemics of Being-Work of Art.
A new Difference eventuates within the Ontology of Being, perhaps epigenic in the enacting of Being Art, and unfolding its Gestell even in Epistemic or Hermeneutic Technè.
The enacting of Truth lays the Foundations for the enacting of the Destiny of Being as an Uninterrupted Path of Being that creates the Gestell and the Gegenstand, but also the Physis of Grund and ab-Grund.
For classical Epistemics and Hermeneutics, that Destiny appears as if it were a non-Event.
A more attentive reflection concerning the Ontology of Events reveals the Indeterminacy of Paradigms in the infinitesimal dimensions near the quantum void.
Here, however, the intention is to reveal the Dis-Epistemic Ontology of the Work of Art-disart before the Technè-Epistemic Event.
The Being-Work of Art dis-installs exactly when it eventuates, since it withdraws from the epistemic, hermeneutic, ontic,
onto-poietic sayable Ontochrony: it is given to Physis as a work no longer of Physis.
The Ontological Difference in Epistemè uncovered the Epistemic Eristic or epistemological Hysteresis of their Destiny.
One was revealed as the errancy of the other, one cast the other into oblivion.
Art eventuated as the being-errancy of Epistemè-Technè, and Epistemics revealed itself as the errancy of the Dasein of the musagete.
The errancy of Being in being a work of art and the oblivion of Being in Technè-Epistemic were thus revealed.
That Event discovered also the Clearing of Being.
