Lacan took the Heideggerian project the farthest: language as the house of being. Letting being vs willing: human being is inherently powerless so truth can occur: needs human being because it is powerless: the grounds of truth, a dis-position of human being. I'm the disposition of the human that language emerges - language is not the ground, the human itself suffers the signifier not a function of the signifier. Lacans symbolic/real/imaginary triangulation of the human.

When a text emerges as an instance of thought it has its own characteristics, not a finite set of neutral articulations that can be assembled into theses, instead a set of textural events whereas thought is engaged to develop & inhibit our approach/experience. The tool is useful & limited to its use: philosophy has its own finitude, its own event character, which we must attend to very closely what is before us & how it is laid out. To come to an understanding one must enter into the grain of a text. Writing as a performance of thought, to stage the idea in phases of the development, a crafting of method unfolding in sequence. Those that take more time are more dramatic: H insists we read the unfolding, a performative instruction, with language at the heart of the method. A transformative process upon language: a perverse twisted German, must be read with an etymological dictionary to explore the roots of the words, in relation, as it is being worked out in process: to read the work as language rather than concepts. He doesn't want it to make conceptual sense! To follow him we must follow the language! To read H means reading language, to enter into the work of language - suspending the concept. An attempt to undo representation, undo conceptual thinking. We are not reading a philosophy so much as particular engagements of thinking taking place within a particular language through which ontological differences emerge from their site: thought is fundamentally historical, material, finite, tied to the mortality of those undertaking it - thought is all about death! The bastardization / horror of theories being applied over the engagement of thought, experiencing the questions through the unfurling of thought through language.

Fundamental ontology: the human being is the first question, before the nature of being itself. An attempt to lay a new foundation for the metaphysics of subjectivity: unfolding historically from Descartes>Kant>Nietzsche>Husseral = modern philosophy as thought of the modern subject: a problem of language!! Must change the approach.

Give voice to the National Socialist movement: spiritual fundament for the Nazi's. "Inner truth & greatness of national science/socialism."

A failure to consider/account for the problem of the human: humanist fallacy: post/trans-humanism goes to fast & loses the consideration of the speaker, a weird abstraction of where the consideration is coming from in OOO - the human is doing the thinking, immersed in socio-cultural context/conditions.

Art as an access point to truth, as a formal construct, the gestalt (form/figure) instantiated in the crafting of the work of art.

Attack on the matter/form distinction: the primary binary opposition informing all aesthetics. H is destructing/deconstructing - a different orientation of subject/object , on the structure of representation of the object constituted in its formal character, the figurality/gestalt of the form: the poets river gives the form of the gestalt for a people. How does it take form, how does it form us, the process of forming, imprint is or upon us? The river is a figure/form/gestalt of destiny: a mythopoiesis, a writing of the predestination of the flowing figure. Only when the tool relation breaks down do we begin to consider the materiality of the thing- a becoming object or process of objectification.

Hölderlin's poetry is disruptive, addressing questions of how one can enter into the space of reading poetry, an issue of being & of time - time of the poem, of the process of reading, of reading being through poetry. Its the overarching resonance, the articulation, the swaying, of the poem, of its telling - not just the arrangement of words - then the over arching resonance of the telling is the initial creative move which prompts the choice of words, the origin whose resonance predestines the use of words. A rhythm that the poet experiences which is prior to the choice of language, determines by the fundamental attunement of the poetry which takes form within the inner outline of the poem, grows out of the particular metaphysical local of the poetry.

Schwingungsgefüge: "a swinging framework": Jointure, composition, articulation

Grundstimmung: "pravailing mood" : Fundamental/ground - tonality. The governing stimmung (time) is of the absence of the gods, of mourning!!!

Metaphysical Locale : "the fatherland"

Syntactical & Semantic juxtaposition of terms. The entire movement through these phases must be considered through the reading of the poem - in the inner outline of the form, the taking of definition of an inner outline, forms the poem. The inner outline of the whole emerges & determines the language.

Rhythm > Time > Form

Autriss: "outline/sketch": the structure of difference - ontological - which gives us the event of truth : a tearing, cleft, a drawing out of a cleft, the articulation of difference in a form of the grundstimmung.

Being defined through the rhythmic movement of the schwingungsgefüge.

Making up the experience of the poem, as an exposure to being emanating from the metaphysical locale of mourning. Its not a subjective experience of the poet! Its not expression, communication of subjectivity (erlebnis: personally experience, or erfahrung: subjectivity) but of an exposure of difference, a movement through a process of differencing.

DESTRUKTION? To rethink the image of language itself as more than a mere tool, having & using. Rather language has us.

An exposure at the limits of what the human can bare.

The structure is drawn as a bow. "Let the holy be my arrow" projects into the unknown. A structure of forces, tensions, the potential of transcendence of the suffering of being or mourning of lost gods/time/limits of human abstraction. An articulation of the structure of history, an historical event by which history begins to be thinkable, a sequence of events which open epochs (Foucault) which define the history of specific peoples.

A calling to act! To create! Or else the continuing devastation of history. The essence of the west needs to be rescued - a historical moment through which we must act, an intervention.

Poetry is not a production, not a part of culture. Distinction between production & poetry.

"Full of merit, human beings dwell in poetry."

Dasein produces a world before itself, a process of production, brings forward a world - as opposed to poetry which resounds upon the fundament/earth.

Poiesis: to make

Praxis: realizing it/oneself

The world is an image, humans produce a world image - the work.

Brauhen: to use, to need. The gods/truth need human beings to Become realized. For art, the earth is used but not used up/depleted: to bring forth the earth.

The necessary repeatability of the linguistic sign, which creates a rhythmic undulation.

The becoming-other of the poetic dasein, the becoming of the poetic Hölderlin: from an I, absorbed into a we, the man looking to the east, the arial view of the eagle. How to understand the place of the dasein in the work.

Double articulation: mourning of the gods & relation to the earth. We are we that we can say that we are unconcerned with the engagement - domain of power - of the poem. According to what historical sequence is this statement made? What is the age of a people & where is the poet situated in relation to the modern image? Through feeling the absence of gods we are feeling-with the earth: the earth as a yearning for a relation to the past & a sense of something coming, an opening to the future from out of the past. Assuming/withstanding mourning is a waiting through the absence while anticipating the coming of sense to come: Bring towards death, of non-being, opens us to our finitude, our thrown being which has always-already occurred. We have no power over our being, we are thrown in, find ourselves in the world in relation/suspension between death & birth: an experience of vertigo.

Is the mourning projected into the natural landscape & read its signs as a symbol for his feeling? The I doing the telling is complaining with the homeland as part of it, the power of the earth upon which the being dwells poetically. The land lies full of expectation beneath the stormy heavens, the I belongs to the earth, from out of the earth the I comes into differentiation the uniqueness of his own being. The poet is mourning with the rivers of the homeland.

Temporality is the originary condition for the consideration of being. God/gods=time.

The poet transmits the totality of being, myth, the stories of a people, the river as a drawing of all of being to become language for human use. The telling is biased towards a rooted being, the voice emerging from the place, with no room for a nomadic people : i.e., Jews.

Ways Dasein knows its truth:

Attunement: finding oneself, a mood, a tonality. The most primordial form of the feeling of being-thrown. Angst is privileged as the confrontation: anxiety, anguish: we feel the world slipping from us & the world slips from us & in that moment we lose our relation to language: a drifting in the nothingness without language. We are emerging from anguish. The way one finds oneself is through affect: by our attunement we are in the midst of being, while also separating. Attunements are collectively experienced.

Understanding: worked out in process

Language: being as a question which it addresses. Language is dangerous in its ambiguity, in its error. Had a shielding function to protect the poet from the raw resonance of being.

Originary Temporality is the free oscillation of the whole of temporality. Time reaches & contracts itself, & only because of momentum is there a throw, & only because of oscillation is there a projection. This can be seen as rhythmic when it is brought to form.

Hölderlin sees the formal characteristics of tragedy as profoundly rhythmic. Correlation to Aristotle: the poetics, schemata: to have force in the poetic language, one should write numerically - to imitate - the actor. Schemata as a gesture of speech or physicality.

Rhythm not as flowing but as a movement that occurs by virtue of articulation through the oscillatory motion of time, the over-arching resonance upon the ground of poetic saying. A rhythmic schematism of the poetic outline.

Marcus Gabriel: subjectivity as a totality of illusions.

Mythology, Madness, and Laughter: MG + Zizek