Art Lets Truth OriginateBarend Kiefte

ART LETS TRUTH ORIGINATE:

DADAISM, SURREALISM, AND HEIDEGGER

I
The impetus for this essay comes from two specific references to Martin
Heidegger's essay "The Origin of the Work of Art" in his book Poetry. Language.
Thought. The first motivation is his statement: "art lets truth originate."1
This condenses much of what Heidegger writes about art and I consider it his
central theme. However, he concludes the essay by claiming that "the origin of
the work of art...is art."2 The real sense of this conclusion comes from his
prior description of the nature and activity of art and truth. For Heidegger,
that art is the origin of the work of art means that it is the "becoming and
happening of truth."3
The second motivation of this essay is Heidegger's question: "Is art still an
essential and necessary way in which that truth happens which is decisive for
our historical existence?"4 Heidegger wonders if art is still an important and
meaningful medium of truth by which we can understand ourselves. He challenges
us to examine works of art and art movements to determine whether or not they
allow truth to happen significantly. This essay is an attempt to answer
Heidegger's question affirmatively with the support of two related avant-garde
art movements Dadaism and Surrealism. I contend that they directly reflect
Heidegger's philosophy of art. Thus, this essay intends to illustrate, with
historical references to visual art works of Dadaism and Surrealism, what
Heidegger means by "art lets truth originate."
II
There is a freedom posited by the statement Art lets truth originate." It is a
freedom to become something, the free becoming of truth. Art allows the truth to
happen; it does not pre-determine it or expect it to conform to an external
standard. Art permits the truth to arise in the creation of the art work and art
work itself. Yet the truth that happens also involves the audience's response
and interpretation. Thus, the free becoming of truth indudes the artist, the
creation of the work of art, the work of art itself, and the audience's
relationship to the work of art. From the phenomenological perspective which
Heidegger maintains throughout his philosophy with an attention "to the things
themselves," the work of art is pivotal. Yet, for Heidegger, the focus on the
work of art then leads to the origin itself, what he calls art. In terms of the
work of art, its creation and interpretation, art is understood as an activity,
not as a fixed product. Truth is also an activity, not an end or final
resolution. Both art and truth are dynamic. In Heidegger's language, they are
both "events," which means they happen in and of themselves as something unique.
The complacency of certainty is overcome by unrest, the awakening of new
creation. This is a central motive of Dadaism and Surrealism. Heidegger
repeatedly draws attention to the element of novelty in works of art. He also
recognizes conflict in unitary works of art and claims that truth exists only in
such conflict. The activity of art and truth identified by Heidegger has
particular relevance to Dadaism and Surrealism.
Dadaists, Surrealists and Heidegger attack the humanist and subjectivist values
of art and the bourgeois society which supports those values. This theme is
probably the most problematic aspect of this essay. Many theorists consider
Dadaism and Surrealism in opposition to the Kantian view of art as an autonomous
realm free of specific interests. Peter Burger defines the avant-garde in terms
of its attempt to overcome the separation between the bourgeois institution of
"art" and the socio-political sphere, but he concludes his analysis by cHticaUy
denying the total success of this project.5 Some postmodern critics consider
Heidegger's insistence on the autonomy of the work of art as an embracing of
very bourgeois subjectivity he proports to escape. They claim that he does not
overcome Kantian aestheticism. From this perspective the avant-garde supports
the integration of art and life while Heidegger emphasizes the autonomy and
separation of them, making the drawing of close similarities questionable. Also,
throughout this essay the contradiction between the Dadaist and Surrealist aims
to keep art separate from prior artistic tradition and value while
simultaneously malting socio-political and (anti-)aesthetic statements with thdr
art becomes obvious. Postmodem critique also questions the status of art or
aesthetics as a meaningful realm in contemporary culture. This makes it
difficult to answer Heidegger's question affirmatively, as I have done in this
essay.
I maintain a relationship between Dadaism, Surrealism and the philosophy of
Heidegger in order to indicate the complexity of the matter at hand. Further
postmodem analysis (which I do not bring to bear on this essay in particular)
may expose both the inability of Heidegger's philosophy to account fully for
Dadaism and Surrealism as well as the possibility of their mutual doom. More
fundamentally, it may also challenge the significance and relevance I give to
art in the first place. Those who are familiar with postmodernist critiques may
recognize the difficulties presented by this essay. My present purpose, however,
remains the explication of the meaning of the statement Art lets truth
originate."
III
Dadaism is a difficult movement to locate historically. This may indicate
something of its character. It is generally thought that it began during World
War I, about 1916, and lasted only a few years before it gave way to Surrealism.
Its initial centre was the Cabaret Voltaire in Zurich, a cross between a night
club and an art society, and from there it speed almost simultaneously
throughout the world. The origin of its name is also unclear and there are
disputes among Dadaists claiming its authorship. Many identify Hugo Ball as the
one who accidentally found the name while flipping through a French- German
dictionary:..."Let's take the word dada...The child's first sound expresses the
primitiveness, the beginning at zero, the new in our art."6
Others cite it as the unabashed "yes-yes" to all new creative ventures. Either
way, the name Dada reflects some of the basic attitudes of many Dadaists such as
Francis Picabia, Tristan Tzara, Hans Arp, Marcel Duchamp and Max Ernst.
Dadaism is a self-conscious movement. It expresses itself explicitly in art and
maIlifestos which have a large scope. Dadaists react against the aesthetic and
social world in which they find themselves. They challenge the bourgeois
conceptions of artistic value and genres. Dada was not a school of artists, but
an alarm sign against declining values," wrote Dadaist Marcel Janco.7 Duchamp
epitomizes this attitude with The Bride Stripped Bare By Her Bachelors, Even
which depicts a "love machine" that could never work and thus frustrates the
desires of the user.8 As this painting suggests, Dadaism also antagonizes the
social values of a humanist bourgeois whose faith in the illusion of mechanized
progress was also being undermined by World War I. Paradoxically, Dadaism tries
to expose the impotence of reason and technology while being aware of its social
power.
One of the most common characteristics of Dadaism is its destructiveness and
hostility. Indeed, in many of its forms it truly deserves its title of
"anti-art."9 However, it is not correct to pass off Dadaism as just an extremist
reaction. It addresses some important problems in art, and seen in this light it
is worth serious consideration. Throughout history, art came to be considered as
a highly specialized expertise in a sacred institution. Dadaism seeks to
dismantle this distancing illusion and remove the cultured aesthetics to bring
art back to a more basic level. Hence the child-like, primitive connotations in
its name. Marcel Duchamp defines Dadaism as:
a metaphysical attitude. . . a sort of nihilism. . . a way to get out of a
state of mind to avoid being influenced by one's immediate environment, or by
the past; to get away from cliches to get free.10
For Duchamp, traditional values are constructs that stifle the freedom of art
and hide its true nature as a process of creating objects. Purity and
indifference, freedom from aesthetic standards, constitute a central theme of
his ready-made art pieces. These include a bottle rack and a "correction" of Da
Vind's Mora Lisa in which he desecrates a reproduction of the icon with a
moustache and goatee. A disguised rude comment, "L.H.O.O.Q.", when spoken in
French phonetics offers an explanation for her smile "she has a hot behind."11
Both pieces show his indifference towards the traditional concept of beauty.
Both are simply objects; he does not present them as equally beautiful. Dudlamp
says of his ready-mades:
A point I very much want to establish is, that the choice of these ready-maces

was never dictated by an aesthetic delectation. The choice was based on a

reaction of visual indifference, with at the same time a total absence of good
or bad taste, in fact a complete anesthesia.12
However, the question arises as to whether or not such indifference is really
free of valuation.
Duchamp, like other Dadaists, tries to break down the subjectivity of aesthetic
judgement and to focus on the pure object of the work of art. Dadaist art
focused so much on objectivity or the object that the work of art is no longer
even a representation or symbol of anything else. For Francis Picabia, a
painting is just what it is - "a mishmash of oil and pigments" - but its further
meaning comes from the title it is given - "a sunrise". He states: "The
subjective part of my work is the title, the actual picture is objective."13 Arp
extends this conclusion even further by having his friends suggest titles for
his work arbitrarily, thereby increasing the distance between the subjective
title and the creation of the art object. The object of the work of art is to be
considered separately on its own terms. Initially, the work of art has no other
reference.
The height of this focus on the object of the work of art leads to the Dadaist
rejection of the emphasis on subjectivity which characterizes bourgeois
humanism. The individual artist, as a superior creator, ceases to be a major
factor - anyone qualifies as an artist. Dadaists try to rid art of the romantic
notions of the artistic genius and subjective style. To this end,
photo-montages, using pre-existing press photos in a collage, are frequently
used by Hannah Hoch and others. The impersonal influence of machinery and mass
production on form and content, which often subversively criticize technology,
hides the persona of the particular artist who merely brings the images
together. A specific style or personality is difficult to find in
photo-montages. The invisibility of the artist's personality is another aspect
of Duchamp's ready-mades. There is little that separates them from the status of
objects mass-produced by machines. In fact his famous sculpture titled Fountain
is a urinal signed with the pseudonym "R. Mutt".14 Francis Picabia mocks the
value which signatures traditionally give paintings with a painting that
consists only of the signatures of his friends.15 Hans Arp also advocates an art
that is "anonymous and collective".16 In these cases, a work of art is created
by many artists, thereby any one individual is veiled by the others.
Arp sees the potential of the element of chance in the ready-made art of
Duchamp. Arp uses chance further by tearing up drawings and letting the pieces
fall randomly to form a new pattern. The same technique is used in his poems
with words and phrases cut from newspapers, with the following poignant results:
"World wonder sends card immediately here is a part of a pig all 12 parts put
together stuck on flat win give the clear side view of a stencil amazingly cheap
all buy."17 He continually plays with the spontaneity in art. This chance
process later develops into the Surrealist experiments with automatic painting
and writing. Arp also has great respect for the "found art" of Kurt Schwitter,
which combine pieces of wood, paper, metal and other garbage to form low-relief
paintings. For him they have the possibility of freedom from traditional
aesthetic values for which an Dadaists are searching.
Arp's Dadaism is a "beginning again and again."18 Art should constantly
originate. Arp holds many of the same principles as the rest of the Dadaists,
but with a different attitude. Dadaism is more than a joke for him - art is
still a worthy enterprise. While those like Picabia are intent on paradoxical
destruction, Arp realistically looks for "a new art to replace and outworn and
irrelevant aestheticism."19 For Arp Dadaism is a primitive can back to nature
from beyond the illusion of a well-ordered mechanized civilization. Art was
forced into a narrow scope based on logic and reason. Dadaism means to explode
this illusory rationality. Arp states:
Dada aimed to destroy the reasonable deceptions of man and recover the natural
and unreasonable order. Dada wanted to replace the logical nonsense of the men
of today by the illogically senseless. . . Dada denounced the infernal ruses
of the official vocabulary of wisdom. Dada is for the senseless, which does
not mean nonsense. Dada is senseless like nature. Dada is for nature and
against art. Dada is direct like nature.20
In striving for this "natural" and organic art, Arp is informal in his approach.
He rarely frames his works and his sculptures have no pedestal because he wants
art to be like any other object. He often combines painting and sculpture in
free organic forms. Like Duchamp, Arp equates art with an other objects and so
its range expands. "The whole earth is art," states Arp.21 For him, Dadaism
equates art with life. He does not want to subvert art - rather, he wants to
free it for positive possibilities.
By the beginning of the 1920's it becomes hard to distinguish Dadaism from
Surrealism. In its own way, Surrealism continues Dadaism's unconventional
approach to art. In the cross-over of art genres even Dadaists like Andre
Breton, Max Ernst and Hans Arp are considered as Surrealists. Marc Chagall,
Giorgio de Chirico, Paul Klee and Joan Miro are important artists of this
movement. Later in the 1930's Rene Magritte, Yves Tanguy and Salvador Dali
become members of the group. Surrealism is another ambiguous art movement. There
are generally two forms of Surrealism recognized: Representational, of which de
Chirico and Dali are components, and Abstract, exemplified by Klee and Miro.22
"Surreal" is a word coined by critic Guillaume Appollinaire to describe de
Chirico's work.23 The strangeness of the surrelist vision can be seen in his
painting The Uncertainty of the Poet. The appeal to dreams and fantasy, which
first appears in Dadaist art, is primarily characteristic of all Surrealists.
This aspect was not always as disturbing as Dali envisions it; Miro is more
playful, Klee more magical. However, in all cases the artists wish to increase
the awareness of the wonder underlying ordinary material life. Even when daily
objects are included in the paintings, they are juxtaposed to create eerie
images, like the simultaneous and multi-levelled scenes of Chagall's The Village
and I or the intellectual and visual incompatibilities in Magritte's canvasses
like Personal Values and The Human Condition. This rejection of direct external
partly explains the distorted and dream-like images of all Surrealists. De
Chirico writes of his own work:
If a work is to be truly immortal, it must pass quite beyond the limits of the
human world, without any sign of common sense and logic. In this way the work
will draw nearer to dream and to the mind of a child.24
This echoes the child-like and primitive sense of one of Paul Klee's diary
entries: "I want to be as though new born, knowing nothing, absolutely nothing,
about Europe; ignoring poets and fashions, to be almost primitive."25 Hugo Ball
also expresses this feeling with the name Dadaism. Yet, in general, Surrealism
is not as anti-art as Dadaism. Klee does not try to destroy the traditional
grounds of art: he simply ignores these grounds and looks for others elsewhere.
Surrealists shut out external influences and criteria and attend to a more
fertile area their own dreams and unconscious psyches. They isolate themselves
in their own mental sphere in an attempt to be free of other effects.
Surrealists strive for the same sense of freedom and purity as Dadaists. They
also want to take art out of its usual historical and social setting so that
their art could be viewed without external reference, either to traditional
values or a direct representation of objects in the world.
As with Dadaism, the element of chance is important to Surrealism. In the
process of depicting the unconscious, the artist has to surrender to the free
expression that work takes. Automatic painting, which begins with Arp and other
Dadaists, is extended as a Surrealist technique.26 The Surrealists also play a
game called Exquisite Corpse in which various artists contribute to a
progressive drawing, each previous part hid from view.27 By using many artists
and hiding parts of the drawing the game increases the element of chance and
spontaneous creation. This spontaneity is a factor in freeing art. By avoiding
pre-determinet formulations of painting and challenging the traditional concept
of the art work, art is allowed to evolve as it may. Art, artists and works of
art are freed by chance.
Though Surrealists paint from the subjective source of thirr own dreams and
unconscious psyches, they aim for an objective content in the works of art by
revealing natural archetypes hidden behind the bourgeois emphasis on rational
subjectivity. They try to give the impression of an absence of both civilized
humanity and a progressively mechanized world. Klee recreates Duchamp's machine
with The Twittering Machine which would be destroyed the instant its handle is
turned. Miro displays Arp's return to organic shapes that contrasts the social
values of the time. Common objects with than connection to humanity are combined

and altered in such a way that they take on an unreal and inhuman quality, only
to reveal aspects of human life that are not represented by logic and reason.
This is certainly true of Dali's Soft Construction with Boiled Beans. . . and
Persistence of Memory. He attempts to communicate the dreamer's expedence of
space and time. As a result, rational humanity, normally understood as standing
over and above nature, fades out of the picture. Instead, it is enmeshed in the
strangeness of the natural world.
In another way, Yves Tanguy is very successful in creating objectivity in his
paintings until all traces of the human contest is gone. The foreign constructs
of Infinite Divisibility exist silently in an airy space. His paintings have
been described as such:
It is not only man who haa completely disappeared from his surreal landscapes.
. . Scarcdy anything at all is left of the clutter of civilization. . . All we
see is an occasional shape looming out of the primal earth, which stretches to
 infinity.28
In his painting The Rock Palace the shapes are curiously familiar but they defy
description; their origins are ambiguous and they even seem to move. The space
is inconsistent as well: on one side of the painting it extends to a cloudy
horizon, while on the other side it forms a vertical wall on which shadows are
projected. Yet it is painted as one continuous space. The viewer cannot find the
proper point of entry or stay inside the painting because there is no stable
position or perspective. It is an uninhabitable place. Tanguy's paintings are
devoid of subjective humanity and are thus objective.
As irrationality is the motive for producing Surrealist art, so it also has to
be the perspective from which it is viewed. Logic and rationality cannot fully
approach the absurdity of Surrealism. The conventional and well-learned
reactions alone are insufficient a new approach is required. The audience also
has to surrender to a free association of images and interpretations. There is
no meaning that can be discredited because all novel interaction with art is
considered valid. Surrealism helps to unite artist and audience in the free
interplay of creation and interpretation centered on the work of art.
IV
Some general reflections on Heidegger's later philosophy will be related to what

has just been presented of Dadaism and Surrealism. This is done mainly as a
background for the statement Art lets truth originate," which is the central
theme. Generally, the objectivity of Dadaism and Surrealism, regarding their
indifference and hostility for subjectivity, is parallel to Heidegger's overall
perspective on philosophy itself. In his essay "The End of Philosophy", he
claims that philosophy has come to its completion, and that he himself is no
longer philosophizing, but thinking. This thinking avoids human subjectivity as
its premise and subject-object dualism as its conclusion. His later writing,
which often uses pastoral images, reflects a sense of a natural order and a
teeming organic world. This has already been seen in Arp's Dadaist attitude and
Klee's Surrealist perspective. The illusion of progress in technology that
Dadaists and Surrelists rejected with their art was also rejected by Heidegger
in his critique of metaphysics. He claimed that metaphysics unfortunately but
inevitably culminates in "the triumph of the manipulable arrangement of a
scientific-technological world."29 The notion of human subjectivity and
rationality dominating objective nature is to be overcome by thinking.
More specifically, Heidegger's conception of art is similar to that of the
Dadaists and Surrealists. In "The Origin of the Work of Art" he writes:
The more solitarily the work, fixed in the figure, stands on its own and the
more dearly it seems to cut all ties to human beings, the more simply does the
thrust come into the Open that such a work is, and the more essentially is the

extraordinary thrust to the surface and the long familiar thrust down.30
Here Heidegger advocates the destruction of bourgeois humanism that the Dadaists
and Surrealists enact. As displayed in Tanguy's paintings, Heidegger calls for a
break from human subjectivity. This is meant to be done, as the above reference
shows by an art that simultaneously projects its own novelty and represses
familiar traditions. Heidegger expresses the notion of the independence of the
work of art when he writes: "The work belongs, as work, uniquely within the
realm that is opened up by itself."31 The place art occupies comes from itself.
It does not have to fit into some convenient place estemally cleared for it by
humanity; it opens up a space for itself and enters it indifferent to humanity.
Like the Dadaists and Surrealists, Heidegger lifts art from its historical
setting. Dadaists such as Picabia and Duchamp react negatively and indifferently
to prior traditions in the history of art, while Surrealists like Klee shelter
themselves from them. All want their art to exist without historical or artistic
reference. So Heidegger also rejects these pre-existent grounds of art, claiming
that what is in the work of art is in the work of art only.32 That is, the art
work creates something new which has never existed before. Thus the work of art
has no other reference, either to traditions or estemal objects. Furthemmore,
the significance of the work of art also lies within itself. No other value can
be imported into it properly. It is its own value.
The uniqueness of the work of art, which arises from itself, is indicated by
Heidegger with the term "event." Events suddenly happen and disrupt the usual
course of daily life and human history. Heidegger shares the Dadaist and
Surrealist call for people to free themselves from their conventional reactions
to art. Art displaces the viewers from their traditional perspectives in the way
Heidegger describes:
To submit to this displacement means: to transform our accustomed ties to the
world and to earth and henceforth to restrain all usual doing and prizing,
knowing and looking, in order to stay within the truth that is happening in
the work.33
This is precisely the manifesto of Dadaism and Surrealism. Dadaists verbally and

physically provoke their audiences who are accustomed to viewing art in silent
galleries. Duchamp's ready-mades are an attempt to pull ordinary objects such as
urinals, bottle racks, stools and bicycle parts, out of their functional and
equipmental contexts in order to expand the normal scope of art and confound
artistic values. The audience cannot approach Dadaism with its usual conception
of art as beautiful or valuable. The surrealist appeal to dreams and
irrationality demand that logic and reason be suspended. So also, Tangu~r's
"landscapes" transform the world and earth to such extremes that any customary
perspective is impossible. A new relationship to art is required. The Dadaists,
Surrealists and Heidegger agree on this point. They claim that we cannot force
our terms on the work of art if we want to enter into the happening of art and
truth. Instead, we must apply art to ourselves and allow it to displace us from
our usual perspectives. We must let the work of art determine itself, for itself
and then for us, to let the truth in art originate.
As "art lets truth originate," so we must let the work of art be a work of art.
Heidegger argues that when we free art in this way, we are preserving it.34 The
mode of preserving or the work of art is not determined externally and then
applied to it. Heidegger states: "The proper way to preserve the work is
co-created and prescribed only and exclusively by the work."35 Preservation has
nothing to do with formal aesthetics, which is just what the Dadaists and
Surrealists seek to avoid. Art determines its own possibilities for creation and
interpretation, its own truth. The artist and audience creator and perservers
originate and unify in the freedom of art. Heidegger describes their
relationship in this way:
The preservers of a work belong to its createdness with an essentiality equal
to that of the creators. But it is the work that makes the creators possible
in their nature, and that by its own nature is in need of preservers. If art
is the origin of the work, this means that art lets those who naturally belong
together at work, the creator ant preserver, originate. . .36
Art is the origin of artist and audience in respect to the work of art. It can
be seen how art as the origin of creator, preservers and the work of art itself
is a unifying factor. The activity of art is mainly focused on the work of art,
however. Heidegger considers the perserver as an active agent like the creator.
Preservation continues the activity of creation by extending the work of art as
a happening.37 Every time a work of art is viewed it is recreated in some sense
because it is brought to a new point in time. Yet the work of art is not merely
pulled from one time to another; it stands anew in a different time altogether.
It is recreated or it begins again. Heidegger writes: "Whenever art happens that
is, whenever there is a beginning a thrust enters history, history Ether begins
or starts over again"38 Remembering also that Arp had seen art as a "beginning
again and again," it is evident that Dadaists, Surrealists and Heidegger share a
common view of the happening of art.
The central point of this essay the happening of art and truth has been reached.
For Heidegger, truth only exists in conflict. If art is to be truth, it must
display such conflict. However, art cannot only represent the elements of
conflict, but must essentially be the conflict itself.39 The object of the work
of art is still the important focus. The conflict does not happen outside the
work of art nor set forth beyond itself as a catalyst. The work of art is the
setting for the conflict. It is the conflict. The work of art creates its own
space or "the open centre" by way of the conflict which it both embodies and is.

The nature of truth is in itself, the primal conflict in which the open centre
is won within which what is, stands, and from which it sets itself back into
itself.40
When Heidegger discusses the conflict in art he introduces concepts such as
world, earth, lighting and concealing. Some explanation must be given. The world
is not a tangible object, rather, it is the entire social, historical,
philosophical and scientific setting h which humanity exists. It can be likened
to the ideological principles humanity uses to guide itself through life. It is
the known, rational world. The earth, by contrast, is the ambiguous and
"unspeakable" which humanity works with. It is that which is not known, that
which defies humanity's attempt to order existence rationally the primal earth.
Given these distinctions, Heidegger claims there is a conflict between elements
that reveal themselves and those that remain hidden.41 Both these elements are
present h a world of art, and this creates its truth. He writes: "Truth is
present only as the conflict between lighting and concealing in the opposition
of world and earth."42 Truth is identified as a conflict. Tanguy's painting The
Rock Palace readily displays this conflict and striving. The shifting space,
though recognizable, cannot be solidly defined. There is also a tension between
the objects' revealed familiarity and their concealed strangeness. The tension
can be seen; the painting does not stand still. Yet all these opposing and
conflicting elements are united in the one figure of Tanguy's painting.
Heidegger spealts of the basic design of the work of art as a "rift" which does
not let the opposing elements pull apart, but unifies them h the figure or shape
of the work43 This is the unified conflict that Heidegger indicates as the truth
of art.
Truth, defined as event and conflict, is centered in the work of art which is
also considered as an event and a conflict. Art, embodied in the work of art as
its origin, lets truth originate because it is both the specific expressions of
truth as well as the condition for the expression of truth. In this way art not
only expresses truth, it is truth. When a work of art is created it gives truth
a location to become, a work-place. Art is also the very work of truth that
happens in the art work. Heidegger indicates when he states that "art is the
setting-into-work of truth."44 In another similar formulation he also states:
"Art is truth setting itself to work,"45 By these statements he means that art
is the entire process of truth freely realizing itself in a work of art. Art is
the becoming and happening of truth. This, then, is the full meaning of "art
lets truth originate."
Barend Kiefte
Memorial University
Notes
1. Martin Heidegger, "The Origin of the Work of Art", in Poetry. Language.
Thought, trans. Albert Hofstadter (New York: Harper and Row Publications, 1971),
p.77.
2. Heidegger, "Origin", p.78.
3. Heidegger, "Origin", p.71.
4. Heidegger, "Origin", p.80.
5. Peter Burger, Theory of the Avant-Garde, trans. Michael Shaw (Minneapolis:
University of Minnesota Press, 1984), p.91.
6. Dawn Ades, "Dadaism and Surrealism", in Concepts of Modern Art, ed. Nikos
Strangos (London: Themes and Hudson Ltd., 1981), p.ll0.
7. Duane Preble, Artforms (New York: Harper and Row Publishers, 1978), p.334.
8. Ades, "Dadaism", p.120.
9. Maurice Besset, Art of the Twentieth Century (New York: Universe Books,
1972), p.73.
10. Preble, Artforms, p.334.
11. Ades, "Dadaism", p.ll8.
12. Ades, "Dadaism", p.ll9.
13. Besset, Art, p.42.
14. Ades, "Dadaism", p.113.
15. Ades, "Dadaism", p.118.
16. Harold Rosenburg, The De-definition of Art (New York: Horizon Press, 1972),
p.73.
17. Ades, "Dadaism", p.l15.
18. Rosenburg, De-definition, p.74.
19. Ades, "Dadaism", p.113.
20. Ades, "Dadaism", p.114.
21. Rosenburg, De-defininiton P.74.
22. Preble, Artforms, p.342
23. Besset, Art, p.104.
24. Sarane Alexandrian, Surrealist Art, trans. Gordon Clough (London: Thames and
Hudson, 1985), p.58.
25. Preble, Artforms, p.338.
26. Besset, Art, p.104.
27. Alexandrian, Surrealist Art, p.51.
28. Besset, Art, p.l76.
29. Martin Heidegger, "The End of Philosophy", in On Time and Being, trans. Joan

Stambaugh (New York: Harper and Row Publishers, 1972), p.59.

30. Heidegger, "Origin", p.66.
31. Heidegger, "Origin", p.41.
32. Heidegger, "Origin", P.75.
33. Heidegger, "Origin", p.66.
34. Heidegger, "Origin", p.66.
35. Heidegger, "Origin", p.68.
36. Heidegger, "Origin", p.71.
37. Heidegger, "Origin", p.71.
38. Heidegger, "Origin", p.77.
39. Heidegger, "Origin", p.63.
40. Heidegger, "Origin", p.55.
41. Heidegger, "Origin", pp.44-47.
42. Heidegger, "Origin", p.62.
43. Heidegger, "Origin", p.63.
44. Heidegger, "Origin", p.77.
45. Heidegger, "Origin", p.77.
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