lT WAs. T ls AND lI WlLL BE VoL,3 LosT ART AND THE cRlsls OF THE PHlLOSOPHY OF PRESENCE Cezary Wąs lnstitute of History of Art, The University of Wroclaw lntroduction The concept of lost art evokes various associations. The first of them concerns the point of VieW characteristic of art history and brings to mind works of art lost or destroyed during war conflicts. Famous past cases of works lost by cultures that are the legal heirs of their ancient predecessors include the works of the so-called Napoleon Museum, i,e. part of the Louvre's collection of war booty, including in particular the Egyptian campaign of 1798-'180'l. None of the demands made so far to return the works that had been taken away at that time led to their return to Egypt. A similar case is in the United Kingdom, where, am9n9 hundreds of thousands of works acquired in similar circumstances, there are the Elgin marbles, which formerly decorated the Parthenon in Athens, removed in a barbaric way between 18O'l and1812 and now kept in the British Museum. The looting of works of art took place in all epochs of human history and is also documented in works themselves, as in a relief of the Arch of Titus in Rome presentin9 a procession with treasures stolen from the Temple of Solomon. During the second world war, a portrait by Raphael, some of Durer's graphics and several thousand paintings were lost from Polish collections. These works were the subject of an educational film entitled "Memory is the Key". The term used in the film transfers the issue of "lost art" into the sphere of metaphysical considerations declaring that the source of the existence of a work of art is memory. However, when we formulate the problem in such a way, the questions about each individual part of the previous sentence, usually overlooked, appear: what do we know about memory, about the source of a work of ań, about the existence and being constitution of a work of art, about existence in general, about Being of being (das Seln des Seienden, Heidegger), about being of things in relation to conscious being (Dasein, Heidegger), but also about the relationship of consciousness, thinking and memory with time, the concept of which also reappears during sculptural meetings in the palace in Muhrau. Nowadays philosophy distinguishes itself f rom its earlier tradition by questioning the obviousness of most of these concepts and indicatin9 how they struggle with their negations, with | ogical correctness, with the 147 T WAs, lT ls AND lT WlLL BE VoL.3 correctness of logic itself and especially with their very existence, which has also lost the status of a certain thing or the thing in general. Problems of memory Assuming that art is rooted in memory requires reflection on the phenomenon of memory itse| f. ln the history of philosophy many concepts of memory have manifested themselves, but when we look back to the oldest, we can come across a problem that was never f inally solved. ln Plato's Theaetetus there is a view on memory, which turned out to be convincing and valid until the present day] . This view assumes that memory resembles a plate of pure wax on which information derived f rom the experience of the external world is recorded. We are dealing here with the assumption that memory is to a large extent passive and receptive, although it can be perfected or manipulated. Memory may also be recorded in writing or works of art, but in the dia- logue Phaedrus Plato points out that such activities lead to a weakening of mental memory2. And it was precisely with this observation that the problem emerged, which was taken up by modern philosophy. For if first the expressions of speech and then their record in writing detaches the individual from the directness of their experiences and transfers their permanence into the artificial and external world of the signs of writing, then such an activity leads to the fact that writing separates itself from iis original context and is subject to endless attempts to change its original sense. The detachment of writing f rom its source origin also contributes to the fact that its expressions lose their connection with reality and that beings that do not exist in reality can function freely in the language, while the existing ones can be equally freely denied the right to exist. Writing creates a separate world which is constantly evolving without any connection to concrete reality and its experience. Written culture analyzes the contents and senses generated within writing and is the basic support and necessity for the processes of adapting the individual to life in communities. Such a culture is based on the repetition of certain contents and the depreciation of everything that introduces content that is overly direct and hi9hly individualised. The way of defending against the uniformisation attempts of writing becomes the area of art in which directness and uniqueness are maintained. A single painting, such as Raphael's lost work, is endowed with an aura of exceptional value precisely because of its polemic features in relation to the discursive language. Therefore, all contemporary ref lections on writing, emphasizing its arbitrariness and lack of an unambiguous 1 2 149 Plato, Theaetetus,'l 91 D. Plato, Phaedrus,274A-275B; cf. J. Derrida, Plato's Pharmacy, | in:l idem, Dissemination, transl. B. Johnson, London'l981, pp. 6'1-172. connection with the rea ex stence ofthe ] ndividua] , undermine the concept of Writ ng as a system of evoking real beings and thus co-create a critical undersianding of presence, A] ong Wjth the cLimate of neqatlon ofthe indisputabilityof being, based on a reflection on the questionable re ationship of the concept of being and theWho e sphere of notions describing it with the indiv dually experienced realily, the posi tion of art, in Which respeci for the directness of experiencing has never disappeared, becomes stronger, HoWeVer, in accepting such a thes s, ihe rneaning of the analyses of art shou d be suspended earlier, asihey emphasize the imporiance of numerous steleotypes and conventions that bring aititude towards th e trad ition al ań closer lo the svstem of writ n9, The statement that memory can be peńected led Plato io the thought pre§ented in the dia ogues Meno3, a| d Phaedo4, that ] n the processes of recollection there are sometimes di§coveries that exceed the acqUired knowledge5. lt is therefore possible to recall the know edge rnore deeply rooted in the hurnan soUl, t may concern rnathernatics, geometry or moral, ity, lt is lherefore possib e to divide the area of memory into a pań gaihering knowledge (eplstć me) and a part contain ng irue beliefs (orthe dóksa). Knowledge is an arrangemeni of gathered ] nformat] on, While beliefs resu t from pure reasoning, so posing questions and Verify] ng answers. HoWeVer, ihis division does noi exhaustthe probler. of memory, because beliefs can be obtained not only on the basi§ of reasonin9, but also in ecstasy6, Which integrates the soul into a certain originary whole. This kind of cogn] tion is charactelist] c ofthe prophets and ańists, it also has erotic and rnysterious features?. The recollection in qUesiion. linked by Plato io the concepts of anamnósls3, anź jbasis' an d epanodosla. eads to the most or ginal knowledge \ ó Ydp 1ąrEiV ópd G] ń lovedv. V dvą] vnolś ó^ ov aorlv', I nl id6m, Lacheś . Prctagórus- Meno. Elthydemuś , nansl, W R, M. Lamb, camblidge (Mass,)alń ń9 areWho y recollecton", London1952, p,302 (in Gleek),303| "research and l€ d deś (ed,), London-Edinb!r9h ] 363, p,46: "ón ń$v ń The Phaedo af Plato,w.D. G€ ld€ n oĘ oUK iiMo I i ovópvqolś I !\ \ ó| tl ói] oo"- Plato Phaedo, trans , D. Ga op, oxford 1975. p, ] 9: "our learninq is actUa y nothina but reco ection', E. wo aka. P] atahś kie rczlagi pamięci 'znak" 2oo9, ńó. 4 | 64', pp. o9-] ] 6 ońe of its s reJerred to aś el/ amps's, ihe term Which can be associaled Wilh of Plato's Letler Vll (344B7-a), afragm€ n t 'orms n The cogn tive abililios described by plato are dir6ct6d by human reason, but ev€ single ńento.s and metaphors juxtapos nq philosophy wilh myste.ies kesp phae- Plato, Mero,8] D: ] 6 dlUś 25aB-c, syńpósjun 21oA. Gorciaś 497c, Euthydeń !s 277D-E) 6ncoUraged nterpreters to atlribute eś oterictendenciesto l. However ś uć htheses,procaim6d byrepresentatveś oftheso-cóLedTiibingenschool, inc uding NansJoachiń Krańer and Thoma9 Aleksandersż lezek, arouse strong oppo§itión, cf,, amon9 others, ż . Danek, P] atońska kóńcep.ja paznania inmanentnegó, czyli epistemólógia po2ytywńa Listu vll, 'collactanea Philolog ć a' 2006, no 9. pp 3-2] , P ato preseńted lhe conceptofanź mnes,ś in Menoń 868, Phaado 668 DandPhaedrus 247D-E, see ańo.g others, c. E, Hlber, ,4namńesls be' P/ ato, Monchen 1964, Platon, Rep!b/ '., 5] ] b, 517b, czao ńska. Piatońska epan odas, cż yli ńiezwykł a pó.lróż dus2y, Rozwój kóhcepcii, "NoWy Filomata" 2005,.o, 9, pp, n-2] , M, ] 5] ofthe source olallexistence, Wh ch even precede§ its very ex sience, EVen knowing God's matters would therefore be only a prelude to knowing the reservoir of forces prior to the appearance of the World of ideas and the Demiurge that created the world according to their model, Plato described the p] ace of these or ginary forces as the chóra, and the ref] ection on it leturned in the descriptions of the disturb ng nature of art made by JUlia Kri§ieva in her book La róvalutian du langage poć tiquell. A reco leciion in this case Would concern something thatdoes notex st, but does exist in the existence in order to distort its existence, To put it more clearly, it should be said thatthe destiny of the great ańists isto direct thernselves towards a lecollection of the §ource of all ex stence, Which has not yet invoked own existence tself, but which subsequently padicipates in the manifestat] ons of the World already created as afactor that disrupt§ its ceńainty and pel, manenc€ and encourages to recur With the thought (rscollection) of nonexistenc6 as th€ formula fol the moś t oliginary activity ol forc€ , Th6 3ourc6 ol th6 wolk ol an and lts b6lng con3tltutlon ln the well-established opinion, art manifeś tsitself primarily n th6 folm of Works of art, .e, ob] ects charactelised by ae§thetic values, such an under, standing of ań has been questioned in the field of artist c practice since the late 18th ceniUry, When the dominance of the Vai!e of beauty in art Was sUpplgmented by Kant With the in§tance of subliriity. s!ch a sUpp ement led to ths bloadenin9 of aesthetic Va ues, Which since then have been con, stantly updated With new f€ atUres to distinguish Works of art, since these Valuosal€ oft€ n more and mor6 d9€ p ly oppos€ d to beauty, such as u9lness, n t6d, among otherś , by the so"called abjsct lepulsion or drsgust (r9pr6s€ an), it can be stated that this resujled in th6 neqation of aesthetlc§ as a sgt of features that aroLlse common iking, on€ of th6 long€ st-d9t€ r mining characteristics of a Work of arl has been und6lmin6d, At th9 same t me, the necessity of artigtsto prodUce Works of art Was also quest oned, stańing With Duchamp's readymades (dating back tothe second decade oi the 20th centuryI a bicyc] e Wheel mounted on a stool from 19] 3, a bottle rack from ] 9] 4. a snow shove] from ] 9] 5 or a ur na from 19] 7), fol] owed by Andy Walhol's pop art and cardboard Brillo Boxes from ] 964, Then there Was even the negation of the very necessity of the existence of a Wolk of art as an ob] ect and linal] y of the very exi§tence of a Work of ań. Today, iherefore, a Work of art not only does not have to be beautifulol ugly, it also does noi have to be an object and, moreover, it does not have to be at all, A Work of art without Being is analogous in its new being status to God without Being, 1] J. Krist€ va, L6 rć Volltio, du lanqaqe poć tiąue: ] 'avaht- garde a la lin du XlXesić cle: Lautrć amont et Mallarme, Pal s 1914. Wh ch has lón9 been of inlelest to apophat] c theo 09ians and has foUnd ils cUrrent man fesiat on in Jean Luc Mar on's pUblication "Die! sans / 'elre" (] 982). Wha1 s ol can it be a Work ihai does not ex st? The Way lo an§Wer this qUestion s thlough a ph !osophy thai has be9!n to ask qUestions about the posit on oi the object ln irUrnan tho!9ht especjajly aboUt tlre ob] ectLfi cation oi ae ng, Whlch has become a habit of thoUght so long lasting that it seems to be out of history and Unchangeab e, The historica nature of th ngs Was described ln Mari n Heide9gels lec iure 'The Ęstabl shin9 by Metaphysics ol ihe Moclern World PictUre" (D'e Begrirnclun9 des neuzeitlichen Weltbtdesdurch die Meiaphysik, JUne ] 938), WhichWasp!bislred!nderlhetllle The Age ol the Wor d P ct!re (D'eZe] l d,-s weltbildes)'2 Heidegger said that the Way of referr ng to Bein9 n Greek or mec] ieval tinres Was Very d] fferent from the Way Wh ch lras been lornred ] . modern time§ and cont] nUes to the Present day, Nowadays ] ts percep, tion s shaped by the nf uence of §c ence, Which n many components s diffelent from Greek ep,steme or medieva doctrtna and scieni/ a Modern sclence is a sUmmary of the attitUdeS that have led io ihe establishment of the pl macy of obiect V ty in the percepiion oi 1he wor d, hurnan and even God, These ait tudes ale based on a str ct del neaiion ol the area that w lL attract nteresi we are ta k n9 then about the establislrment of an objeci oi research and the inst tutional maniie§tat on oi th s attilude s the establlshment of l elds of science or iacUlt es at universities The Sepalation ol a sc entific fie d is accompanied by tlre establishment of str ct lUles ol re search, proced!res of conduct in a spec fic scope of resealclr A ready at this stage of the de§cr pt on of science t can be seen that What becomes the object of research s devo d ol the features of mot on Therefole i Being Was !nderstood as constanl y chang ng then the bein9 s as f it Were dead, permanent and LlnclranqeabLe. The re§earch procedUles are based on the compalison, Which ass!mes tlrat What s Unknown mUst be blo!ght clown to What is known and can be tJnderstood An exam ned th nq athouqh t mav a so be a ] ruman be ng, becomes sc ent fica ly importanl i t can be under standable Tnerefore the reasonableness of 1h ngs aclrieves a Va Ue ihat is h 9h above everyth ng ihat is ncomprehens ble. At the same time, it s nol nol ced that reasonabieness, as redUcing the !nknown 10 1lre known, causes the loss of What § except ona or Un que A l know edge s a s] mp if cation and its or9an zat on is hand ed by nstitLrtlonslhat are g!ided by the ic] eas oi 5 mp] e Ut lty n th s Way, techn calsc ences become soc aly more ] mpoltant than art, Wh ch itse f js also often lequ red io be lsefu , At the same t me, living art s dominatecl by the siudy of ań, and c!ltUre, Whiclr is sUb] ect lo ]2 M Hedegger Djeż eł des Wellb'/ des (J rstpublshed] 950) tln:] ] dem, Ho/ zwege (] 935 lhć lge ] 946)'Gesamtalsgab€ vo.5 Frankfuńa,M ] 977,pp,75 l] 3 Eńo| slr athel Essays, af the Wan.l Plcture | in-) illeń fhe Qlestrón cóncelning Technalagy and 'dóm ł ans W Lovili NeWYo.k] 977 pp l] 5 54 Jdem The Age ól lhe wór1.1 PjCtDre I drdem, all lhe Beateń tack, 1lans and ed J Young. K Haynes cańbr dge 2002. pp 57,8tj the pr nc p e of comn] o| !se. becomes a prodUct on of enterta nrnent that ] lsi makes le more p easant, A Lc l | q example of change n art 5 the case of arch tecture Wlrere 1r] c Va Uc oi beauty has beei degrac] ecl n favour ol ts ty as G ovanni MichclUcc exp] i.it y commenter] n his st.tement that the greale§t ach evement ot modclnist archńectUre s the Water c oset lhe ref e.t on on the pos t!on of ciraracLcr st cs oi th nk n9 ] ntrodUces n!m_Aro!s deta s to the 9eneraL, mctaphys ca stalc mcnt concern n9 the ob] ect f cat on oJ a be ng ancl the downgrad ng of evcryth n9 lhat.annot be made V s ble treated a5 Vlslb e, made an image or prcsonled in a y otlrer Way, The Wol d, as the t tle of He degger s essay staLcs b.comes an mage or preseniat on belng acqu res ts Va id ty n is ^ rcplcscntaljon, wh] clr uses rationa ity as a too of thai represent.t on Th 5 means that the bein9 can be apprcc atcd whcn it bc.om€ s compr.hens b e, so that Whai s incompreirenslble ol cannol bc !ndcrstood .] ocs not deserve attent on, norto be noticed ol coLlrse modeln rat onalty s not comp.tc] y new aid had prece.] e.i§ n ts element§ ln the Antiqu ty and the Nlidd c A9es, so th_. for9ett ng of Be ng as someth n9 abyssa danqeroUS and Un pred ctab e can lre dated back to trre nrnes ol Socratcs al] d P ato, Heideggel lrowever comlrines the ntens ficat on, stlen9Lhenin9 and popu al ż at on oi the objectiJ cat on ol the be ng W th the mo.lcrn tlmes When ś Lch tho!9ht nc nat ons fo!nd the r 5tron9 adVocates, He sees a ceńain C] octl na] c osUlc oi lire ob] ect i catlon of the being espec a y n th_A thought ot Descartes, Who part cUlal y cleal y procla n] ed that only statements characte. sed by the certa nty of thc r rcf.lonce to bein9s as ob] ects are t.!_A The tr!th of poets, artists or prophets cou d on y be r_Aappr_Ac ated after cr i c sm of thls adVanced rat ona sn] espec a ly in the plr losophica hermeneui cs of l] ejdeg9erandGadamcl ony ithesecondhaf of the2OthceniL] rydidthe excesses of rat ona lsm makc lt possible to not ce that hUmans have a need totranscend lheir nte ectua] irab ls. to rcv Ve the rth nk n9 by descen.] n9 into the areas ol the abyss, Wir e pocts or art sts n general have access to truths that are noi prov ,] ed by sc encc n such a case, t s not an ob ] ect i _.d b_. ng, bui a lunclamental non beng | Abgrlnd) W th ts fr ghten ing aspe.ls thnt has become a hope ior thc future in ph osophy CLtrent .ationa ty, iher_Afole, means reaclr ng nto noth n9ness that precedes all forn,s of Be i9 and the b_A n9 Th s changes the pos t on of art sts Wlrose arl rath.. than ph osophy is a too] for iranscend ng nte lectual and mora norms and stlug9l n9 Wlth What creaies tlr_. 9reatest res stance, The current y Undcrslood sUbl m ty means d rect ng ań towards phe nornena tirat make thcmsclVes pań cU arly d ff cU t to represent or even magine, cnt ca reilect on on the metaphys cs of presence is dent ca W th the analys s oi the negat Ve s des ot lhe dom nat on of reason n the ex st ence ol the nd V dUal and the society A] so ln l] T is case art, as a Splrere of act V ty less sUbjeci to ihe pressUre oi reason, may be a too to go beyond ts jm tations, such a d rect on, however, s not an abandonment oi reascn tLrnct ona ] 57 and a shift towards irrational Values, but an entry inio spheres not yei en compa§sed by reason but yet being demanded bythis reason, A lresearch into reason and the Ways in Which concepts emerge has equiva enis in art that attempts to enter the World beyond the imaginat ons and thejr closing n expressions of lan9Uage- A more lim ted forrnu a of polem cs Wiih the recording of be ng in lan9Uage Undertaken by contemporary art concerns polem] cs Wiih tradiiiona forms of soc ial existence, !t can be ass!med that the formulas oftheformer metaphysics of presence had a decisive inrpaci ontheshape oftradtiona, hi9hly interna ly niegrated sociei es, Therelore, any art that exceeds social habits is in its core an express on of resisiance to the persistence of nolms resuliing from meiaphysics, Which is d s nte graiing n ihe plocesses of ihe current phi osophical ana ysis. Since the ] gth centLlly, ntel] ectual creations, especial y the| rforrn materia ż ed in techn ca products, have become the greatest pr de of Western World cu] t!res, Heidegger's philosophy Was one of the first to atternpt to po nt out the dangers of such a h gh pos tion of leason that had lost its purpose of siruggling With the unknoWn and stiffened in 1he Wolld of nst] tut ons, Trad t onal formu as of reasoning ntens fy the exploitat] Ve approach tothe World and rnake it a collection of certain and fuly recogn zable things, Heideggeas philosophy, however, Was an attempt to show that the World is insp red by a conil ct in Wh] ch the LJnknowable and the hidden are the deeper source of all existence and constantly underrnine all certainty, Truth, therefore, cannot be defined, as in Descartes' t ho ug ht or in scientil c proceed ngs, as the certainty of ajUdgemeni referring to a limited sphere of reality, bUt raiher as go ng beyond any limits, Thus, n art too, truth is not based on the repre§entation of realty and the consolidation of the knoWn, but on reachin9 oUt to What constitUtes the source of reasonableness, Wh ch precedes al common ex stence and is attractive because ol ts unaVailability, can a spher€ towards Which human act Vity sho!ld be directed be called sacled or divine? This is not necessary because the path to the abso utely unknown is anagogica, ascending one, and consists of numen ous nterrnediaie stages, among Which Heidegger poinied toihe search by art forthe truth of Bein9, The term "truth of Being" @iewahlheitdes seins, He degger) is an unclear and largely inexplicable term because it refers to the pre-conceptual rea ty and Which is merely obscUred by the concept, According to Heideg9er, art s pańicu arly cal ed upon to reveal and unve l this Very realm of rea] ] ty, Wh ch is identical to the beauty that evokes as tonishment and adm ration, The attempt to speak oul about the unspeakable s not unUsual and logicaly incorrect, bui is aconstant human tendencyio9o beyond Whatis eas ly aiiainable, Go ng beyond the World of concepts is, therefore, a trad tional praciice n poetry, art and philosophy, Undoubted y, however, art is an € xceptionally Useful tool in these maiters, since in its character it has retained rnostofthe possjbilii es of us ng p re,conceptual th nklng associated ] 59 W] th fantasy, imag nation, or intu tlon, ancl cl rectin9 onese f towards areas not covered by trad t onal cogniiion When the thes s is pUt forwarclihat ań gives pr Vileged access io the trUth of Bein9, the answer can escap,. ordinary VocabL] lary and obV] ousness The answer s a| so d sturbed by ihe hab tihat ad oilen recreaies the Visjb e realty, ca.es about the stat!s of an object and i§ proies§ ona ] y producec] W thin the ln§t t!tions of the artist c ndUsiry, However, When the characlel §tics of d ff cultie5 n deScrib ng tlre phenomenon of revealin9 the 1rUth of Being n ań are taken Up, certa n paths of Undersiandjn9 this phenomenon appear, The explanation shou cl beg n Wiih a reminder that every ordinary thinkin9 s a im tation, because only Whai can be encompass€ d , def necl and c] escr] bed can be thought of Descrb n9itsef salsoaiormof separation,beca!sebothspeechandWrt c!lations, e formsofdivision Bothspeechanc] Wriing are tools by Whiclr anothel division is made, name y separaiing from direct experience and !nclucl ng it !n the parts of speech and anguage expressions that constitUte the second Wor c] for hUman, An, be n9 a trans9less on oi th nking, reaches into Bein9 mole d rect y and is more a connect on tlran a separai on, t s a perception of the wor d as a whole, The 1rLrUr Heideg9er Wrote about s aboUi Be ng d fferent from beings leduced to the evel of ob] ects, because ] t is dynam c, mobi e and manifests nt itself as being marked by contrad ct ons, t is thelefore a un] ty of diffel€ cornponents, lormin9 a kind oi con/ c/ .Jenlia opposiiorum, S!ch Be ng ls an equ Valent of the fate captured !n a Greek drama, bUt it also refers to ihe d V ne aspects of the logos, Moreover, it s agonic, levea ng its (own?) existence While h d ng it, lts man fe§tation ha5 the charactel slics of an event ing are based on ari (Ereignis, He] degger), in Which dangerous and threaten n9 components must be sUppressed by people's social behavioUr, an9uage and cu t,] re, cUlture therefole concealsthe horrorof Lfe, of Being orof God, creat!ng a Wor cl of llUsions and ] m tation§ that are necessary for co ect] Ve l fe but mUst a so be transgressed S!ch imitations, even the lan9uage tse l (anc] not on y lelLgioUs or mora norms), create the fettels fol the most bas c charactersl cs of Be ng. Artists, l ke propheis ol myst cs are obli9ed to 1ranscend al rUles so that the lorce§ of Being can reneW tlreir lllluence on the V s b e lealńy, The art oJ levolt s a kind of a channe of transitLon from Non-Be n9, i e, a deeper ayer of Bein9, to Bein9lhat levea] s ord nary beings Whose tendency s to fa l into obieciif cat on, ThUs, any a,list ć act Viiy thal algues W th the ob] ect statUs of a Work of ari ncludes the need io renew contaci Wth the metaphys calsource ofal Be n9 AssUm ng that an event (Ereignis) s a manifestat on ol Bejng a so prompts to reflect on a time which n a newer sense, oses ts §ubstantiv€ and obiectlVe feaiures, An event always has a certain spatial dimension and With it ] ts own iime. such an assumption is not acomplete novelty, because the departure from the substantial and linear concept of time has been in human thouqhtforaVery long timeand an importani stage oflh] s path Was the dispute between Newton and Leibniż , in Which Newton represented the subsiantive position, Whi e Leibniż represented the relationa position. The problematic natule of time Was expressed ear ier in the statement of st. Augustine proclaiming: What, then, is time? lf no one asks me, l know what it is, lf lwish to exp ain it to him who asks me, do not know Yei l say with coniidence that knów that il nothińg passed away' there Wo!ld be no pasi tińe| and ii nothińg were si] lco_ ming, thereWoU d b€ no luture time] and ii lhereWere nothing at al, there WoU d be no presenttime, Bul, then, how is it that there are the two t mes, past ańd luture, When gven the past is now no lonaer andtheiut!le is now not yet? But ii lhe present Were always present, and did not pass inlo paś l time, it obvious y would not be tińe buteternity.lf, then, time present, ilitbet me, comes inio exisien.e on y because passes intoiime past, howcan w€ §ay thai even 1his is, s nce the caus€ of ts being isthat itWillceaseto be?ThUs, ć an We not truly say ihat time s only as it t tend5 toward nonbe ng?!, Thec!rrent situation of difficulty in def n ng tir.e is identical lo that described by Augustine, but is condiiioned by other prem] ses. The criticism of the objectificaiion of Being js part of a rnore generalcritic sm of existence ihat has revealed iis dependence on expressions of speech and anguage and thus its dependenceon hunran, something "exisis" or "is" also becaus,Aihe language contains the expression "is", but What is this "something" apart from that What We desclibe in ii as existing, We do noi knowl4, Analogica] ly, therefore, it is with time ihat exists only for humans, lt ] s not poss] ble to assume that there ] s t] me Wiihout humans, because ihis time exisis on y for humans, lf it has dimensions, they are onI y ihose that ale given io ii by humans. Therefore, allforms oftime are der ved from memory, thinking ol consciousness, The belonging of time to a s ngle person is so significant that individual times cannot be defined more precisely, bUt soc] a] life and culture a so bring forrnulas of time, Which create a common, historically determ] ned time, For Hussen stilL, two plus two equalled four regardless of Auglstine, confess'ons and Enchr'dion, Bookx| ,14,trańs, A, c, oUtle., Lońdon1955, jdeń, ofl tha Beateń Track tlańs . M, Heidegger The or,gin of t he Work ot Art, | iń:) J, Yo!n9, K. Hayneś , cańblidge 2002, p,29| "There is mlch in beings mań cańnot maste. BUt tllecomesto be knowń. The known rema nsan approx mation, What is , Never sabeing- asit might, a tooeas y, app6ar- somelhing of mastered ins6cUr€ our ńaking or merelyour representation". Der ursprung des kuństwerł as are three ectU16spresentedinNovemberandDeć ember] 936, 163 human exisience's, but now We ale inclined to assurne that count ng methods have a social history and are based on the needs of common l] fe, The same istrue of t me, Whose ceńa n folmulas are noi so much complete] y objective but lather soc al, However, ihis does not obscure the fact ihat t me in its basic form is the dimension of the individua 's existence, his or her fear of h s or herown iate and hiś or her da ly concern, certain y, therefore, it is not something that exisis on its own, w thout a conneć tion to Being of human, The relat onsh p between time and memory can be explained by simple observaiions. Time is the resuli of hUman experience constanily encoun, tering movement and Var abil ty. The rea] isation that one ih ng has passed and another is on y ] Usi noW, creates a strUcture of tinre, Accord ng io Aristotle, memory is the absence of a certain state of ih ngs, Which has preserved itself as its image and can be recalled] 6, The prob em is that an image is always a distońion, an active operation that tUrns a certain reality into 1he property of a specific person. A though the patterns result ng from social experi€ n ces play a decisive role in the assim lation of reality and the irnagination also has the characteristics of habits that bring the ind Vidual c| oser to the other members of the communily, yet what is personal in the imagination results from ind v dual experiences and transforms an image of rea ity nto ils interpretation. Sirnilarly, reco ection, i.e, evoking the image of the past, is another distort on, l] ecause memory is s!bject 1o constant modif cai on and Updating ihe magination conta ned n memory is, to a large exient, the cleaiion of someihing new Also, What s seen direcily, even before it is remembered. is a so based on ihe transformation and ad] ustment of a certa n rea ity to someone's own percepiua capabiliiies, lt fo ows that We never come nto contaci W th a permanent realiiy, but only With its chang n9 imaginat] ons, those of the present (prlmo), those of the remembered (secuńdo) and those of the reca ] ed (tert;o), n each case there is a mod] ficat on of rea ity and the creation of an imag] nation, Which is neces§arily diiferent from the origina reality, Therefore, We ] Ve n the circle of oUr oWn imaginat ons modified by co lective habiis, li a so means that ihe art of inrages, the art of menrory, js never perrnaneni and does not exist as someth ng unchangeab e, Ań is always doomed to a certain loss, because t redUces the decisiVe part of the mpressions from the original ]5 ] 65 Hussel'sv ewś ć ońtaned I Lagical lnvestigations { Loglsche Unterś u.hungen, 190o/ 190] ) Were presenled by Kolakowsk as follows] 'Thal t is lrue that 2 + 2= 4 doeś not dependon whelllelorńóttheleare ob] eclsio be counted;the law'either p ól nol p", does noidependon whelheror nol theleale peoplewholh nkand reaś on". seeL (olakowsk, Hlsser/ ał dthe searchfar cert] tude,st Augustine's Press, soulh Be.d, ndiana 2002, p 20 Arś lotLe De memoria efreninesć erlia (n.pipvi| Jiś xoloYouvlio.Uś ) 1,451ala 16 lińl Aliś tótle óń Meńary an.l Recallectbn: Text, franslalion, ] nterpretation, and Recaptian in Western schólaś ti.iś m,D. Boch (ed ). Leden_Boslon 2007, p 35 "Wehavenow slaledwhatmeńoryańdreńemberingiś lhatit s the siaie ol having an image, taken aś a lepreseńlanon of lhaiof Wh ch ii san image" The fina defi.iton ó' memory reality, when duling mernorizing and recolleciing, it adapts tto a particu ar human existence (Dasein), ln each case t is an active operation, Thus, ań, accompanying the forms of changeabiliy, impermanence and non,existence, itse] f fal s into non-existence and loss, lt a Ways exists on y as an irnag] na_ tion that precedes rather ihe phenomenon of iime than sUccUmbs to it, Understanding t] me as a process ofchan9es taking place in consc] oUsness disturbs iis presence and prompts to search in ari for iis adequate repre, seniaiions in the form ofWorks being in the process of creation ratherthan finally created, inclUd ng those that are Unique events, as happens in the ań of action (happenings and performances), A more thorolgh analys] s of innerconsciousnessoftime ndicatesthat its beginning is a ceńain initial impre§sion ihai is captured as the presentrl, The source irnpr€ ssion capiured by con§c] ousness lo§es its directness, c o§ss itsolf to the imaginat on, becomes the property of memory and al most mmediably passes ] ntothe past. The presont s an e§cap n9 or rather elusive plesence, immed] ate y rep aced by is consciousness, i,e. a recol ec_ tion, However, one cannot say that m6mory sonlyamatterofWhaipasses, becal] se human existenco is saturated W th fear of the future, anxiety, but also With the thou9ht runnin9 out into unatiainable spheres] 6, The past Was sometimes the area of the mysterium tremendum et f8sclnosum (RLldolf o1to), so a state of drsad'9 thai iurn€ d time back inio polit repress ve a trad tion and turned nto a conservative cal utop a, such phenomena ] ntensif edespec allyafterthe French Revolut on and reached theil peak around the midd] e of the ] gth century, since romantic art made fear the ob] ect of its interest, t has been tamed and even made a §phele of pleasure, However, art that glorified the past and comb ned the apology of the idea of nat on With the motils of traditional religions tiv€ n ess lost ts attrac- at the end of ihe 1gth century. The art of the 20th century r€ p 16- sented a ś ianilar enthusiasm, but directed towards the presenl, also taking into account th6 admirat] on for ] ts Various politicalconsequences, sinco the late ] 960s, hoW6Vel Western culture has been saturated With doubts abolt many of its ma n d€a§, and moreover With the percept on of threats resulting flom the sliff6ning of rat] onalisl c concepts, and in particularfrom ]8 ]9 E Husser , vóllesungen zur Phenamenalagie des inneren zeibew!] 3tselns. Hrsa M He . degger, Ha o a,d,s 1923 pp, 390-39] ; idem, Lecllfes an the Pheńońehólógy ól the cónscioOsnessal lntelnal lińe tlans, J, s, churchi , Bloominglon ] 964, pp 50-52] ideh,ońthe Phehómanalogy af the canś ciousness oI lntelnal Time (893-] 9r1, kans J, B, arough Dordrecht-Boston.London ] 99l pp,30 32, M Heidegger, sein !ńdZ6't, Ti] b] ng€n 1967 p, 329: "Das pr mere Phanońen der UrspnjnglichenUndegentlichenZel chkeit isl d] e Z!kunft" ldeń, Beinq and Tima transl byJ. Macquafie, E, Róbińś on, oxford2oo1, p,37a] "Theprim6ryphenomenon of plimordiaLand authenlic tempora!ly is the luture". see a so/ deń op, ć it., tlaisl J, slanbaugh, rev sed D. J schmdl,NeWYork20] 0 o,314 The memory ol the past aroused fear a ready nsl August ne. who Wrote: "Great s fh 9 pow6rofmemory exceed n9y 9real, o my God, a argeańd bóundless nnerhall] Wholrasp] !mbedthedeplhsól 167 it?' ś ee ideń,op, cil,.p.252. making science the backbone of tech nology and nd ustriaL production. ldeas critical of rationalism, but also ihose pojnting to the separation of humani- ties from contemporary problems, rnanifested themselves already in the ] 930s, amon9 others ln the ph] losoph] es of Husserl and Heidegger, bui their signiflcance grew only at the end of the 20th century, Along Wiih the development of objections to rnany iundamental phenomena of contemporary times, irony about the phenomena of makin9 all beings and Values markeiable goodsjoined the ań of sublimating ihe present. The art of the preseni has lost its simplicity and has eniered a critical phase. ln philosophy, the main manifestation of comparable changes Was the crisis of many concepis of traditionalmetaphysics, especiallythe crisis of the phi] osophy of presence. However, ihe deconstruction of metaphysics, along With its development, abandoned its destructive core and developed a more affirmative refI ection, Along W] th this phenomenon, the fuiure began to be interesting as an area of absolute otherness and impossibility, dangerous, but arousing ihe desire, The human tendency to iranscend Was renewed at the tUrn of the 2oih 6nd 2] st centurles and the future became the only notewońhy dil.ilens] on ofthetime,ln such a sitUation, the search for radical otherness and imposs bility, affected by the crisis of faiih in the possibili, t es of the intellect, movesfrorn thefield of pure philosophy ] nto the space ofart, Which s as if more called to explore Whaicannot be said to exist nor cannot be said to not exist'ó. 20 ] 69 However. the problem ofthe mU] tjpl] cily ol Ways of ex] stence and non existeńceoi beings is not onlya problem of cuffent philosophy, but has a leady appeared in Plalo's sophist (259b): "l...] lhere s therólore ńodoubtthatthere are thousands and ihousandsofth ń9ś which being is not, andiust soal otherthings,bothindivdlallyand collectively, in many re ations are, and in manyare noi'(Plato, soph'st, linl ideń, Theaetetuś , sopńist, lransl. H. N, Fowler, London New York 1921, p, 423)i Plalo, soph/ sb (259b),I n:l Platońiś oDera, J- Burnet (ed,), Vo,l, oxford ] 900 k6pr 1967):'óde,óóv dvd!9@pirńroś oJ luplo dnl uupiolE ol] K iml, ki Tó^ / 6 ói xdo' Łxoorov oijr@ xqi onprofo no\ ^ oxń ltv ć d , nd\ ^ oxń 6'oiJx Ćd v". Hege al6o r6fer6d to this sś Ue, c'. G, W F, Hege , vanesungen i)ber dią Geschichte del Philósóphie, zweiler Tei , Hrsg, c L, Michelet,