The way of drawing shows involuntarily the ideology (i.e. any kind of „higher-will“). Conversely, the ideology determines the kind of drawing. The way we are drawing or writing shows what we believe, no matter if we are aware of this or not.
sitting in the car
Step by step from the 16th century to the beginning of the 20th century, we lost believing in God's will. We replaced the faith in God with the "Faith in Yourself" and in our own possibilities and forces to create a better future here on earth. By the middle of the 20th century, we start to lose the faith in ourselves.
waiting for the blossom of Marie
»April is the cruellest month, breeding Lilacs out of the dead land, mixing Memory and desire, stirring Dull roots with spring rain.«
With these words the poem "The Waste Land" begins, written by T.S. Eliot, published 1922.
Desire Lines I, Cover
The Sandman is a figure within a fairytale told by Hans Christian Andersen. The Sandman is said to sprinkle sand or dust on or into the eyes of the child at night to bring on dreams and sleep.
Desire Lines II, Ole-Luk-Oie
„There is nobody in the world who knows so many stories as Ole-Luk-Oie, or who can relate them so nicely.
Desire Lines III, He Walks in his Socks
In the evening, while the children are seated at the table or in their little chairs, he comes up the stairs very softly, for he walks in his socks, then he opens the doors without the slightest noise, and throws a small quantity of very fine dust into their eyes, just enough to prevent them from keeping them open, and so they do not see him.
Desire Lines IV, The Pretty Stories
Then he creeps behind them, and blows softly upon their necks, till their heads begin to droop. Ole-Luk-Oie does not wish to hurt them, for he is very fond of children, and only wants them to be quiet so that he may relate them pretty stories, and they are never quiet until they are in bed and asleep.
Desire Lines V, It Changes from Green to Red
As soon as they are asleep, Ole-Luk-Oie seats himself upon the bed. He is nicely dressed; his coat is made of silken fabric; it is impossible to say of what color, for it changes from green to red, and from red to blue as he turns from side to side.
Desire Lines VI, The Whole Night
Under each arm he carries an umbrella; one of them, with pictures on the inside, he spreads over the good children, and then they dream the most beautiful stories the whole night.
Desire Lines VII, They sleep Heavily
The other umbrella has no pictures, and this he holds over the naughty children so that they sleep heavily, and wake in the morning without having dreams at all.“ Hans Christian Andersen, Ole Lukøje, 1841
Desire Lines VIII, He had lost Control
I met my father on my way to the bathroom early in the morning. He looked like I had never seen him before. He looked as if he had lost control. He was staring at my feet but in a way as if they were something different, not feet, maybe two moving but separately existing armadillos.
Desire Lines IX, On a Sunday Morning
My father never lost control. It was on a Sunday morning, approximately one year before he died.
Desire Lines X, In Front of Each Other
We stood in front of each other and he started to speak to me in a way like that he never had spoken to me before, as if I were someone else.
Desire Lines XI, It Hurst
He clutched at his head, fingered his skull and said: „It hurts, as if it had really happened“.
Desire Lines XII, I dared not Move
Then he was silent and stared at my armadillos again. I dared not move. The armadillos trembled. Then he fixed an imaginary point just above my right shoulder.
»The German word Gestell has a number of meanings, some of which Heidegger mentions: rack, skeleton--the basic sense is of an armature or framework. Heidegger develops a new application of this term to describe how human beings have come to relate to the natural world.«
»Heidegger makes a brief detour here to justify his coining of a new term from an everyday word. He returns to the Greek word eidos, familiar to us from the example of the chalice, and explains how Plato redefined this word.«
»Eidos originally designated the outward, visible appearance of an object; Plato, however, uses the word to mean the abstract, universal essence of that object: the "chaliceness" of the chalice is the eidos.«
»From Plato's redefinition comes our word "idea." Heidegger's use of Gestell, or "enframing," follows a similar path: he takes a word meaning something concrete (a bookshelf, for example), and uses it to designate something abstract.«
»We often hear people criticized for wanting to "put everything into boxes." This expression usually means that a person thinks uncreatively, narrowly, with too high a regard for established categories.«
»The "frame" metaphor in Heidegger's concept of "enframing" corresponds to these "boxes," but for Heidegger, all of us have a tendency to think in this way.«
»We noted before that nature reveals itself to us in its own terms, and all that humanity can directly control is its orientation to the natural world.«
»We should think of "nature" here in the broadest sense, as the entire realm of the non-human--but also including such things as our physical bodies, over which we have only limited control.
»What characterizes the essence of modern technology, for Heidegger, is the human impulse to put the world "into boxes," to enclose all of our experiences of the world within categories of understanding – mathematical equations, physical laws, sets of classifications – that we can control.
»When Heidegger states that "the essence of technology is by no means anything technological," he means that technology's driving force is not located in machines themselves, nor even in the various human activities that are associated with modern modes of production.«
»In his example of the automobile, the parts the make up the machine as well as the labor of the factory workers all belong to technology, but are not its essence. The "frame of mind" that views the world – its reserves of metal ore, its chemical structures, its human population – as raw materials for the production of automobiles approaches more closely what Heidegger means by the essence of technology.«
»Heidegger's argument, however, is more far-reaching. He claims that enframing stems from the human drive for a "precise" and "scientific" knowledge of the world.
»Heidegger now sets out to place technology within the history of the modern sciences. He makes the remarkable suggestion that in at least one sense modern technology comes before the development of modern physics and actually shapes that development.
»This claim will make sense to us if we remember that for Heidegger the essence of technology is that orientation to the world he calls "enframing." Insofar as the human drive for a precise, controllable knowledge of the natural world paves the way for modern physics, we can say that "enframing," and thus the essence of modern technology, precedes and determines the development of modern science.«
»Where does this enframing tendency of human thought begin? Heidegger does not answer this question here, but rather describes the philosophical context in which that question can be asked. For Heidegger, philosophy is "the painstaking effort to think through still more primally what was primally thought".