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	<title>Gigantomachia &#187; logic of/at origin</title>
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		<title>An Overview: The Logic of/at Origin</title>
		<link>https://www.makrolog.de/mce/?p=229</link>
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		<pubDate>Sat, 17 Jul 2004 16:12:09 +0000</pubDate>
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				<category><![CDATA[Gigantomachia/Titanomachia]]></category>
		<category><![CDATA[logic of/at origin]]></category>

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		<description><![CDATA[The gigantomachia is an expression of a certain logic of/at origin. However, it is exactly the central point of the gigantomachia that this logic is already logics at origin. Other logics are equally possible and equally present there in such a way that origin is a contest of logics, therefore of onto-logies. The contest of [...]]]></description>
				<content:encoded><![CDATA[<p>The gigantomachia is an expression of a certain logic of/at <span id="more-229"></span> origin. However, it is exactly the central point of the gigantomachia that this logic is already logic<em>s </em>at origin. Other logics are equally possible and equally present there in such a way that origin is a contest of logics, therefore of onto-logies.</p>
<p>The contest of logics of/at origin has the following aspects:</p>
<p>a) there are multiple fundamental powers or shapes or possibilities at origin. See <a href="/mce/?cat=44">original complexity</a>.</p>
<p>b) defining this multiplicity are abysmal borders which are not themselves possibilities at origin, but are somehow &#8216;present&#8217; there. See <a href="/mce/?cat=14">original difference</a>.</p>
<p>c) since these multiple powers are equally fundamental and equally powerful, they contest with one another. This contest is dynamic. It therefore has a time of its own which is essentially different from historical time. See <a href="/mce/?cat=17">times</a>.</p>
<p>d) origin has a <em>second dark</em> (which is what Beckett&#8217;s <a title="The space of the door 3" href="/mce/?p=17">Krapp</a> describes in his &#8216;last tape&#8217;) and a <em>second light</em> (Beckett&#8217;s &#8220;<a title="The space of the door 2" href="/mce/?p=21">then gently light unfading on that unheeded neither</a>&#8220;). Similarly, one of the central intentions of Plato&#8217;s allegory of the cave is to distinguish different between varieties of light and of dark; these are essentially different in the cave as opposed to the day and night of the earth above. In SZ Heidegger calls attention to the peculiar light (lights) of origin with the coinage &#8216;Gelichtetheit&#8217; and specifically relates it to the different time there: &#8220;die Zeitlichkeit die Gelichtetheit des Da ekstatisch-horizontal konstituiert&#8230;&#8221; (SZ, S 408)</p>
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