In any event, as I say, this is all only imagery — achingly nostalgic and suggestive imagery — meant only to depict a way of inhabiting the world that Heidegger believed was constitutive of our humanity but that
late modern humanity has forgotten.
Not exact matches
The question to which he continually returned in his
late work was not whether this was an accurate portrait of the
modern situation but, rather, what the history had been that had led Western
humanity to this point.
Modern humans, Homo sapiens, are the
latest link in a chain of ancestry that stretches back 5 to 7 million years to a common ancestor with chimpanzees and bonobos,
humanity's two closest living relatives.
Artists like Warhol, Calder, Kandinsky, and O'Keeffe comment on
humanity's intimate relationship with the cosmos, informed by
modern technological advances of the
late 19th and 20th centuries.
These landscapes, whether cityscape or the newly industrialised agricultural landscape — as with Ralston Crawford's featureless work of
modern purity «Buffalo Grain Elevators», 1937 — are for the most part completely devoid of any human narrative, only
later do we end with Edward Hopper's isolated figure, in his 1928 picture «From Williamsburg Bridge»; sitting in the window of an otherwise empty cityscape, framed by an expansive absence of
humanity.