ABSTRACT
Intense acts of devotion animate what it initially conserved as an innocuous sign, wrapped up by the splitting acts of rational dogmatism. The poiein animates the objects of art with its active pleasure; the same pleasure animating the artist whose philosophical interests become minimal in front of the gigantic task of the materials that mediate making with object. The ontological purpose of art, cemented in its historical essence, regales the art-form with an exemption from history, reposing the work of art out of the spatio-temporal significatory structure, thus equating the work with reality; where the work is the reality self-purposed yet historicized by its poetic. In the imaginary grammar of the meta-purpose, Being remains estranged from its own passion. In 'travelling' the distances from the object's sociological interest to the subject's aesthetic appropriation, art as a making gains its full being for its maker.
