For most people using an advertising slogan as the title for a philosophical paper is going to seem, at best, provocative, and at worst, simply cynical. However, this kind of cynical provocation is precisely what I want to address. That is, Marks and Spencer's tagline 'exclusively for everyone' is an affront to rational thought, but this is also the motive for its effectiveness. Rather than simply stating what's on offer, it plays to our dreams; rather than simply offering to match (...) our expectations, it promises to exceed them. (shrink)

ABSTRACT In this article, I want to focus on two of the distinctions that inform Heidegger's discussion of ethics within “The Letter on Humanism.” By investigating the distinctions between action and effecting, on the one hand, and ethics and ethos, on the other, and considering their roots within his lectures on Aristotle in the 1920s, I will argue that Heidegger's practical concerns are less connected with ethics as it is generally practiced and understood today than with the ancient notion of (...) the good life. In grappling with the metaphysical grounding of Aristotle's conception of the good life and its essential relation to production, Heidegger examines the historicality of both ethos and action in the light of modern technology. (shrink)

Heidegger’s essays “The Origin of the Work of Art” and “The Question Concerning Technology” provide a revealing insight into the importance of exemplarity to artworks. Originally the notion that exemplarity is essential to art is Kantian: As Kant puts it, since originality can produce “original nonsense, [beautiful art’s] products must be models, i.e. exemplary.” However, what Heidegger recognizes is that even if exemplarity allows us to take art seriously in spite of its excesses, it exposes the artwork to new dangers: (...) on the one hand, to the “world withdrawal of the work” as occurs in consignment to the museum shelf, and on the other, to the conditions of Enframing as “challenging-forth,” under which art is taken as a means to an end—dangers which point to the division of artworks between “fine” art and “popular” art. Since Heidegger’s approach favors the former, we will try to gain new critical insight by considering his arguments in the light of a “popular” work that allows us to formulate an exemplarity of popular art as the necessary complement to that of traditional art. By means of an understanding of the exemplarities (in the plural) of artworks, we will be able to reconsider the significance of Heidegger’s notions of reliability, Enframing, and poiesis for our current technological conditions. (shrink)