Martin Heidegger, “The Age of World Picture,” The
Question Concerning Technology and Other Essays,
translated by William Lovitt, New
York; Harper and Row, 1977:115-54.
annotation by
Jeehee Hong (Theories of Media, Winter 2003)
This article addresses
the metaphysical ground of modern science. Reflecting on the essential
phenomena of the modern age, Heidegger deals with the relations
between human subjects and sciences in the modern period. The sense of “in-ness” of
temporality is crucial throughout the article in understanding the peculiarity
of the modern human subjects and the science. By characterizing the modern
sciences as a process of “research,” as opposed to that of “knowing,” in
which open-ended “ongoing activity” occurs, Heidegger suggests that the
modern sciences come to experience an unprecedented ontology that
is determined by their existence within a dual temporality: existing
before coming into being in the modern world. This ontology is encapsulated
in the term subiectu m as described as “that-which-lies-before,” which
is doubly articulated by its ongoing activity and its implied spatial
setting of the “world.” The notion of the “world” is further interrogated
by its relationship to the notion of “picture.” Heidegger's “world picture” connotes
the world conceived and grasped as picture, rather than a picture
of the world; it is a system that stands before subjects, in which all
things belong to and all things stand together. What makes human subjects
the equivalent of modern beings is their position in the midst of this
picture, which becomes possible due to their capability of measuring
and executing, for the purpose of gaining mastery over that which is
whole. The historicity of the modern age is emphasized through this transformation
of the world into picture, of human into subiectum . Further, when a human
being experiences her/himself as subiectum, and this has precedence
over other centers of relationship, the world becomes picture.
Heidegger finds the most salient example of this phenomenon in the ubiquity
of “the
gigantic,” and its self-reflexity as a modern phenomenon. Capturing “the
gigantic's” tendency towards the increasingly small, Heidegger suggests
that this largeness is something through which the quantitative
becomes a special quality. Thus, it is a remarkable kind of greatness,
which entails the transformation of the ever-calculable into the utterly
incalculable. This transformation exists around all things everywhere,
when a human being has been transformed into subiectum and the world into
picture.
Framed as a metaphysical
reflection on modern sciences, this article grasps the complexity
of the modern technology as a new medium. On the one hand, highly influenced
by Hegelian historicism, Heidegger's view of modern technology
reveals the unmistakable modernity of technology and its historical
ontology that are sharply contrasted with the sciences of the previous
ages. On the other hand, Heidegger relies on somewhat contradictory
assumptions that there have been perennial existences of media throughout
human history and that the human subjects have always experienced them
as a process in which the very media was constructed. Although Heidegger
never refuses to confine the modern sciences within the historicity
of the modern, the realization of this latent continuity underlying
the modern media is worth noting in relation to theories of media, i.e.
McLuhan's characterization of media as a sort of paradigm. Yet, the
weight of the modernity in Heidegger exceeds the slightly nuanced possibility
of the continuous aspect of media. In this sense, Heidegger's insight
into the historicity of modern technology appears to be a prelude to
Kittler's statement that some medium “ceased
not to write itself” in the modern era. In the context of Heidegger's
recognition of the continuity of media, Kittler's statement can also
be read as presupposing the condition that media has continuously tended
to write itself, yet only in the modern era was it actualized. This complexity
is especially useful in thinking of the discourse on “newness” of the
media in modern and post-modern eras. For example, it is interesting
to find the parallel discourse between Heidegger and Manovich in describing
the newness of media in a given time. Although different in emphasis,
both grasp the point where human culture and technology converge “for
the first time in history.” Thus, trapped by the overwhelming self-awareness
of the modernity, Heidegger overemphasizes the uniqueness of the modern sciences.