> On Oct 23, 2015, at 9:43 AM, Eugene Halton <eugene.w.halto...@nd.edu> wrote: > > I would add that it is not only metaphor that, “reverses the process by > unmaking a familiar distinction, revealing a richer and stranger > relationship,” as you put it. This is also the essence of aesthetic > experience. Dewey termed this “perception,” where the qualitative immediacy > of the object determines the interpretation, rather than the habits of > interpretation brought to the situation by the interpreter, which Dewey > termed “recognition.” In Dewey's use of these terms, recognition is arrested > perception, where full openess to the object is foreclosed by habituation. > Fuller openness to the qualities of the object can indeed unmake a familiar > distinction to reveal a richer and perhaps stranger relationship, such as > Peirce’s example of snow in shade as actually appearing blue. > > Aesthetic experience in this sense, as a potential element in all experience, > involves an openness, a vulnerability to experience. > I think this is completely right. This is also tied to Heidegger’s notion of truth as unveiling in a kind of re-experiencing of a think in a new originary way. That was in large part why the Continental tradition took up the metaphor so strongly. I think it ended up undermining their clarity of writing and thought. But there were very good reasons for what they did initially.
To Heidegger as we become habituated to things they withdraw themselves in various ways. Especially as we come to use them as tools for our purposes. His famous example was hammering with a hammer. We only see the hammer again when something goes wrong in our practice. He also sees this in the everyday interpretations and practices we find ourselves embedded in. The "das Man” or they-self as he calls it. For Heidegger the das Man isn’t really a thing but a kind of ambiguous part of social reality that determines how we see things. It’s breaking out of seeing things in that way that metaphor (among other things) enables.
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