One house: text & drawings

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1992
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Virginia Tech
Abstract

Over all that has been said here hovers the judgment of Hegel that art, "on the side of its highest vocation is a thing of the past." Under this judgment the limits of mythic thought are brought to light with respect to itself. For an incomplete mythic identification with modern cultural forms might indicate a passing of mythic thought into a critical capacity or ideal achievement. Such, I believe, is the world for Hegel. For Hegel, this capacity moves to understand itself in the world. In the realm of art, this is accomplished by a physical determination of rational thought as the Ideal comes to inquire scientifically what art is through the elucidation of itself in the Absolute Spirit by the forms of its logic: Being, Essence, and Concept. From the realm of art, the Ideal pushes on into areas less friendly to the senses: first religion and then philosophy or logic. It moves this way only to return, with feeling, back into the realm of art. Yet in this return art is not hallowed or made sacred as it once was with the ancient Greeks. Nor does it, in Heidegger’s sense, allow for the ontic happening of truth. Instead, art is the world of man in the Absolute Spirit brought into physical form. This passing of art into a new age remains an undecided question for Heidegger and Cassirer. Their differences with Hegel turn upon how the logic of idealism defines the question of the nature of Being. Heidegger and the later Cassirer look toward "phenomenological horizons" to provide their foundation. For our part, we are skeptical about a complete connection of mythic thought to the modern world. The modern intellect is critical and demythologizing. In Hegel’s words: "the mind renders thought its object" and by so doing comes to theorize first in order to understand itself and the world. What attracts this mind is what appeals to its criticality. But when our criticality has achieved the clarity of line and concept of which it is capable a different mode of thinking stirs around us for the mythos and "the ultimate positive basis of the spirit and of life itself." (PoSF.,p.4) Speaking about architecture from within the framework established by the authors here examined, we find our interpretation to lie in between the conceptual tectonic of das Eins and the existential analytic of the Dasein of myth.

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