Poiesis

In the film, technology leads us to the discovery that it is within ourselves, not outside of us, that the solution to the problem of technology – a solution Heidegger called poiesis, or pure creativity – is hiding. ❋ Enowning (2008)

For the sake of brevity, I will focus on the evolving relationship of "poiesis" to physis in Heidegger's work as an indication that nature's "presence" or truth may not ultimately require human artifice to be revealed. ❋ Unknown (2007)

In his essay “The Question Concerning Technology,” Heidegger summons the Ancient Greek origin of techne to describe technology as methods and skills, but a means for getting at true forms and ideas, the “bringing-forth,” from the Greek poiesis. ❋ Unknown (2010)

In his essay “The Question Concerning Technology, ” Heidegger summons the Ancient Greek origin of techne to describe technology as methods and skills, but a means for getting at true forms and ideas, the “bringing-forth, ” from the Greek poiesis. ❋ Unknown (2010)

Against this the authors recommend an approach they call "meta-poiesis," a kind of restraint drawing on disciplined skill, artistry and reverence for the natural world. ❋ Eric Ormsby (2010)

The avant-garde, in particular Dadaism, seems to be, by contrast, a celebration of precisely that very possibility of art as a different, postaesthetic poiesis. ❋ Enowning (2009)

Such gatherings constitute the thingness of things, something not only true of the products of human poiesis, but also of the physis of natural entities: ❋ Unknown (2007)

Calling the alternative to technology poiesis, Heidegger is not at all sure whether this distinction can still be meaningful, whether the poietic can mark a difference from the technological or whether, instead, it explains itself fully within the fold of technology. ❋ Enowning (2009)

Rather than pitting technology's poiesis against earth's physis in an effort to alter the latter, Heidegger suggests that technology should ideally allow the earth's own presence to "be" instead of transforming nature into a gigantic "standing reserve" (17) of energy. ❋ Unknown (2007)

Blake and Martin Heidegger's phenomenology of poiesis — is also acknowledged, but in a manner that resists a reductive interpretation of what is at stake in these discourses. ❋ Unknown (2007)

Heidegger's thought inaugurates a way towards understanding natural entities '"inherent value" and challenges human beings to find ways to honor this value in their own poiesis (technological or artistic clearings). ❋ Unknown (2007)

What is curious about the description of the temple's poiesis — its bringing into presence of nature — is the way in which the temple's "world" has usurped the original meaning of physis, which is an ❋ Unknown (2007)

That is, natural phenomena only become "visible" via the temple's enframing; by implication, earthly things cannot manifest themselves as what they truly are without the presence of human poiesis (which originally included both art and technology as forms of technē). ❋ Unknown (2007)

Heidegger claims that not only art, but physis itself is a form of poiesis ( "bringing forth"): "physis is indeed poiēsis in the highest sense," as evident in the "bursting of a blossom into bloom, in itself" (10). ❋ Unknown (2007)

The former creates a space for thinking how the physis of natural entities constitutes a mode of poiesis, while the latter (in a suggestive parallel with Buddhist thought) implies that all things have "presence" by virtue of an underlying absence (emptiness). ❋ Unknown (2007)