Abstract

ABSTRACT In a passage from the addendum to “The Origin of the Work of Art” often ignored in the secondary literature, Heidegger expands on how art institutes the unconcealment of the truth of Being with reference to the ontological difference—the difference between Being and beings which cannot rely on the comparison of predicates for clarification. The relationship between art and the ontological difference is not immediately obvious and lacks further explication in Heidegger’s other texts. This paper argues that there are two fundamental elements to the ontological difference that Heidegger focuses on that can be used to elucidate art as a strife of world and earth: “the Nothing” [das Nichts] outlined in “What is Metaphysics?” (1929) and world-projection described in The Fundamental Concepts of Metaphysics (1929–30). Understanding these two elements of the ontological difference (world-projection and the Nothing) as present together in the event of unconcealment (aletheia) thereby clarifies for the notorious concepts of earth, world, strife, and rift (Riß) that characterize the work of art. Recourse to the ontological difference as an explanatory mechanism for conceptualising Heidegger’s philosophy of art is a useful way of avoiding common issues in the prevailing literature that will be laid out below.