Facing Janus: Reframing the Question Concerning Technology – Part 2 of 3
Martin Heidegger: How Shall We Live?
Martin Heidegger reframed the question concerning technology around the concept of human being. Heidegger’s 1953 essay “The Question Concerning Technology” approaches the question of modern technology as a pervasive and Janus-faced fact of modern human life. Drawing on Rousseau he captures the problem in his opening statement: “everywhere we remain free and chained to technology (Heidegger, Martin, “The Question Concerning Technology,” in Martin Heidegger: Basic Writings, ed. David Ferrell Krell, 1977, repr. New York: Harper Collins Publisher, 1993, 311.)” Technology cannot be approached uncritically, according to Heidegger. Instead, it must be approached freely and reflectively because the essence of technology, as a way of revealing the totality of being, is enframing which both endangers and saves being.
Heidegger argues that “technology is a way of revealing (Ibid., 318.)” To ground this claim he recovers the Greek understanding of technology (techne) as revelatory (aletheia) and suggests the natural triadic process of physis-poesis-aletheia for understanding how technology can be revelatory (Ibid., 317-319.) Heidegger points out that for the Greeks; physis (Nature) was the “arising of something out of itself,” as such it was a disclosure or unconcealment (aletheia) of being (Ibid., 317.) This process of this unconcealment was understood as a “bringing-forth (poesis)” of being. The same was true for crafts or works of art (techne). The craftsman or artist brings forth or reveals what is concealed in nature (Ibid., 318.) Thus, Heidegger concludes, technology is a way of revealing, a way of bringing forth the totality of being. The problem, of course, is that not all revealing is poetic. Heidegger claims that the essence of modern technology is enframing (Gestell) (Ibid., 325.) As such, modern technology is a type of revealing that orders and determines. As Heidegger puts it, “enframing means the gathering together of the setting upon that sets upon man, i.e., challenges him forth, to reveal the actual, in the mode of ordering, as standing reserve (Ibid., 325.)” Heidegger contrasts this type of revealing with the Greek notion of techne as a poesis of aletheia. Although both the Greek understanding of techne and modern technology are both forms of aletheia, they reveal the totality of being in vastly different ways (Ibid., 326.) Techne as poesis allows nature to “come forth in unconcealment,” whereas modern technology as Gestell, challenges nature to come forth as a “standing reserve.” Nature is therefore set upon, ordered and determined in a way that leads to a concealment of its truth instead of a revealing of it. Modern technology in this mode of revealing is therefore dangerous (Gefahr) both to Nature and to humanity (Ibid., 331.)
In order to illustrate the distinction between poesis and Gestell Heidegger offers the example of a hydroelectric power plant that sets upon the Rhine River as a source of power (standing reserve) and an old wooden bridge “joined bank with bank for hundreds of years (Ibid., 321.)” The power plant enframes the river in such a way that it can no longer be a river but must be a power source. The bridge on the other hand, while equally technological, allows the river to be what it is: a river. But Heidegger does not leave the issue separated into categories of “acceptable” and “unacceptable” technology. Instead he turns to face the Janus-faced question concerning technology and reframes it.
Heidegger recognizes that technology is ambiguous (Ibid., 338.) Given that the essence of modern technology is enframing, it “blocks every view into the propriative event of revealing” and therefore endangers the truth of being (Ibid., 338.) But enframing also “lets man endure… that he may be the one who is needed and used for the safekeeping of the essence of truth (Ibid., 338.)” Thus, the essence of modern technology as enframing both conceals and reveals the truth of being and therefore contains both a danger and a saving power (Ibid., 338.) But, as Heidegger points out, while “we can look into the danger and see the growth of the saving power” we are nevertheless “not yet saved (Ibid., 338.)” We must find a way of living in a “free relationship” with technology (Ibid., 311.) The question is not “Do we accept or reject technology?” but rather “How do we live with it?” Heidegger’s answer to the question concerning technology reframed in this way is: art. Art is essentially poetical and therefore contains the potential for “the bringing forth of the true into the beautiful (Ibid., 339.)” Heidegger does not say that art will poetically reveal the truth of being; only that it is possible (Ibid., 340.) But art is a way of coming closer to the dangerous power of modern technology so that its saving power may shine forth.
But have Arendt and Heidegger missed something in their analysis of modern technology? Is it possible that Arendt in her ardent concern for the human condition has missed a vital aspect of it that changes our understanding of the relationship between humanity and technology? Is it possible that in Heidegger’s characterization of technology as separate from nature he has missed a common foundation for both? Bernard Stiegler thinks this is the case.
