The Adventure of Difference: Philosophy after Nietzsche and Heidegger (Parallax: Re-visions of Culture and Society)
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In this book, Gianni Vattimo examines the notion of "difference" in scientific knowledge and contemporary mass society and illustrates the importance of Nietzsche and Heidegger in both formulating the concept and exploring its implications for current debates on the nature of modernity.
language, the pure transmission of mess ages, or, to use terms closer to those of Nietzsche, as the freedom of the world of symbols. The word is not first and foremost the sign of a world independent of language; history is the history of words, it is dialogue, much more primordially and fundamentally than it is the history of 'things'. But what is hard to understand in these propositions is the true bearing of the 'is': in hermeneutical ontology, despite all its references to Heidegger, this
is not sufficient to remember or become aware of the difference between Being and beings; we also have to problematize it in its eventuality; the difficulty is that this requires us to be placed beyond the horizon of metaphy sics, withir which we belong by virtue of our very constitu tion. The only one who might truly achieve such an Ueberwindung would be the Nietzschean Uebermensch. Recollection is also alluded to by Nietzsche, for example in aphorism 292 of Human, all too Human, 1 7 and even
sense at the beginning of this itinerary. He is still defining art as a form of the spirit that moves in the world of pure appearance, in contrast with science, which pursues and obtains truth. In aphorism 146, which more or less marks the beginning of the fourth part of Human, all too Human, a part which is in fact dedicated to artists and writers, the artist appears as one who has a weaker morality than the thinker in respect of truth. The artist is anxious to preserve the presuppositions that
anthropologically a kind of left-over of epochs in which the fantastic and the mythical predomi nated, also lives his passions and emotions in the manner appropriate to children and primitives, i.e. violently and impulsively (HATH no. 159). The phenomenon of inspira tion itself is linked to these emotional mechanisms of art, for it is nothing but creative force (equivalent to the power that images, symbols, etc. have to invest the 'real') that has been 89 T H E W I L L T'O P O W E R A S A R T
thinking that looks to him (Gadamer's for example), but I do want to call attention to two points in particular. First, there is a notion here that is also strongly emphasized by those who interpret Heidegger in relation to Wittgenstein and 'foundationless thinking'. And yet the way the term 'play' is used, in the parts of Der Satz vom Grund to which I have referred, gives a very clear idea of the abyssal (ab-grundlich?) distance separat ing Heideggerian play from Wittgenstein's 'game' - defined