The Call of Conscience – Part 1 (BT 269) (2025) 绘画 由 Noël Van Hoof

卖家 Noël Van Hoof

美术纸, 9x8 in

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Martin Heidegger – Being and Time – BT 269. As a phenomenon of Dasein, conscience is not just a fact which occurs and is occasionally present-at-hand. It 'is' only in Dasein's kind of Being, and it makes itself known as a Fact only w i t h factical existence and i n it. The demand that an 'inductive empirical proof' should be given for the 'factuality' [...]
Martin Heidegger – Being and Time – BT 269

As a phenomenon of Dasein, conscience is not just a fact which occurs and is occasionally present-at-hand. It 'is' only in Dasein's kind of Being, and it makes itself known as a Fact only w i t h factical existence and i n it. The demand that an 'inductive empirical proof' should be given for the 'factuality' of conscience and for the legitimacy of its 'voice', rests upon an ontological perversion of the phenomenon. This perversion, however, is one that is shared by every “superior” criticism in which conscience is taken as something just occurring from time rather than as a 'universally established and ascertainable fact'. Among such proofs and conterproofs, the Fact of conscience cannot present itself at all. This is no lack in it, but merely a sign by which we can recognize it as ontologically of a different kind from what is environmentally present-at-hand.
Conscience gives us 'something' to understand; it discloses. By characterizing this phenomenon formally in this way, we find ourselves enjoined to take it back into the disclosedness of Dasein. This disclosedness as abasic state of that entity which we ourselves are, is constituted by state-of-mind, understanding, falling, and discourse. If we analyse conscience more penetratingly, it is revealed as a call [Ruf]. Calling is a mode of discourse. The call of conscience has the character of an appeal to Dasein by calling it to its ownmost potentiality-for-Being-its-Self; and this is done by way of summoning it to its ownmost Being-guilty.

(Translation by John Macquarrie and Edward Robinson)

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Most of my paintings are inspired by books or music, they are a tribute to a certain author, philosopher, composer or artist and his/her work. Reproductions of my works are for sale by Artmajeur. People who are [...]

Most of my paintings are inspired by books or music, they are a tribute to a certain author, philosopher, composer or artist and his/her work. Reproductions of my works are for sale by Artmajeur. People who are interested in the original work can send me a message. The ecoline paintings are framed (light oak or black aluminum), they have a passe-partout and a plate of glass on the front. Oil paintings have a wire on the back so they can be hung.

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