Abstract

Heidegger claimed that world beings, existing or extant, including artworks, become intelligible in the preservation of perceptual determinations instigated by some extraordinary art that stands apart in being world-disclosive. In the lack of adequate premising scholarship has found this claim so incoherent, that it dismissed its seriousness and has treated all art Heidegger pointed to as equal. Besides being an issue in itself, this relinquishing leaves unanswered the biggest liability in Heidegger’s philosophy, the so-called “Münchhausen circularity” between Being and Dasein in the creation of world. But there is evidence to actually validate the exorbitant claim, evidence Heidegger himself did not see emerging as a potential from within his own conjectures. A phenomenological reduction that allows the implementation of suprasegmental theory of prosody suggests that Blonde Youth, an early fifth century Greek statue is the missing art through which all art, and with it all world constituency, has become intelligible.