This chapter looks into Heidegger's deep romanticism. It argues that this romanticism blinds him to the variety of aspects of technologies that more phenomenologically could have been better discerned. It begins the reflection with two vivid images, both related to that ancient Greek ancestry to which Heidegger turned again and again as a source of thinking, consonant with self-proclaimed origins for Euro–American civilization. Heidegger's analyses of art and technological objects follow similar patterns. One could easily conclude that an art object is, for Heidegger, the primary example of a “good” technology. The chapter introduces two elements to the romantic thesis: embodiment relations and “deep ecology”.
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