In 2015, at
I posted a note about what then appeared to be the impending construction of a great astronomical telescope atop Hawaii’s 14,000-foot Mauna Kea. The construction was opposed with chants and picket lines by native Hawaiian shamans and University of Hawaii theoreticians interested in laying cultural groundwork for the dictatorship of the proletariat, but Barack Obama was President and I was optimistic. Optimistically, I illustrated my note with this fantasy of the telescope towering over the Black Forest ski hut where Martin Heidegger dressed up in peasant garb and went shrooming for the Authentic.
Two years later, it’s obvious that my Photoshopped optimism was incoherent. I had appropriated an architect’s rendering of the telescope in its rightful elemental night, but during the hours of his waking Martin Heidegger oversaw from the windows of his squat sturdy hut a mountain landscape brimming with illumined fog. Because I had left the night unmodified as a single layer of dark around the telescope, the image I manipulated couldn’t withstand the next two years. Image-fogging light overspread, innuendos of divinity took effect, and as of 2017 the sky has repopulated itself with horoscopic cartoons and there is a real possibility that the telescope never will be built.
But Photoshop offers everyone who sees an image the opportunity to resee it. Accepting the second chance, I will try to reimagine the telescope as if seen at sunset, when the shamans retire to watch Fox News. As dark flows up the flank of the mountain, the dome beginning its nightly labor of vision may serve thought as an emblem of hope: an eye opening to receive light from a not yet visible star.
Can anticipating sight and a star help us navigate a way of our own through the dark?
Ostensibly a work of modern non-fiction, Martin Heidegger’s autobiographical essay “Why Do I Stay in the Provinces?” (text below) is written in the language of a pastoral genre that had been popular in Germany since the nineteenth century: the novel of blood and soil (Blut und Boden), “which idealized its subject and painted the mythology of peasant life, far from the crossroads of the world” (Mosse 138). During the Third Reich the genre was cultivated like an agribusiness crop, and as its formulas became part of the vocabulary of the state they acquired a derisive nickname, Blubo. Heidegger himself disliked the term Blut und Boden, but the narrator of his essay speaks its language like a native.
“Why Do I Stay in the Provinces?” was published in 1934. As of 2015, many wars and a holocaust later, an international consortium of astronomers is attempting to build a great telescope atop Hawaii’s 14,000-foot extinct volcano Mauna Kea, one of the world’s premier sites for an observatory. However, the road to the construction site is being intermittently blocked by a group of native Hawaiian cultural practitioners who claim that to build anything atop Mauna Kea except altars to the volcano goddess is (as their media releases put it) a desecration. Speaking of desecration, Heidegger’s great object of hate René Descartes wrote a theory of the telescope, and I’m sure that if Heidegger were in Hawaii now he’d be up there at the roadblocks himself.
As he raised his voice in a chant of protest, he’d be joined by some of my post-colonialist colleagues from the University of Hawaii. For them and for Heidegger, then, this collegial contribution in the rational language of Descartes and Photoshop. It depicts the mountain hut where Martin Heidegger grew his deep thoughts out of the Boden. One peak higher, goddess willing, will arise the Thirty Meter Telescope.
George Mosse, ed. Nazi Culture: Intellectual, Cultural and Social Life in the Third Reich. New York: Grosset & Dunlap, 1966.
Click the link to access Heidegger’s “Why Do I Stay in the Provinces?”
Interviewer Thomas Vašek: You speak of a “metaphysical antisemitism” . . .
Donatella di Cesare, vice president of the Martin Heidegger Society and author of Heidegger e gli ebrei. I “Quaderni Neri” [Heidegger and the Jews: The “Black Notebooks”], forthcoming in English translation: [Heidegger] outlines a metaphysics of the Jew. That is, he doesn’t speak of specific Jews in their individual differences and he isn’t interested in the history of the Jewish people. Rather, he asks: What is the Jew? What is the nature of the Jew? And when he does that he falls back into metaphysics, against which he guards himself at all other times. That’s why I would speak of a metaphysical antisemitism.
Sources: “Heidegger-Enthüllung” [“Unmasking Heidegger”]. Hohe Luft 10 February 2015, http://www.hoheluft-magazin.de/2015/02/heidegger-enthuellung/. Online.
The Warsaw Ghetto in Photographs: 206 Views Made in 1941. Ed. Ulrich Keller. New York: Dover, 1984.