ABSTRACT
The determination of modern technics as described by Heidegger represents, as Weber suggests, a continuation of the project and problematics of subjectivity after Cartesianism. If technics strives towards a knowledge which unlocks beings as such, then, as Weber remarks, 'techne is a form of poiesis that in turn is closely related to art'. Form, as the figure which establishes the ground or place of literary and, by extension, humanistic study, is, then, never safely or securely placed. The question of the parergon, of form, work and frame, clearly raises the issue of institution in a variety of senses. The 'conceptual and singular universality' that emerges from the relation of aesthetic judgement to form in Kant causes the delineating contour or outline to begin to unravel into a 'scrawl'. The imbalance and disorientation that propel the university from the moment of its institution derive from the agonized and ambivalent processes of institution itself.
