Abstract

This article's purpose is to show how heidegger and merleau-Ponty re-Visioned aesthetic linearity and to relate this re-Visioning through the lines of language to generations of newly-Significant 'lines of thought'. By delineating their different senses and functions, I distinguish (what I refer to as) "in-Lines" from outlines, Establishing that the former is a primary mode and arguing that the latter's limited and restrictive connotations fails to appreciate the 'opening' of creative significance apparent in the phenomenon of linearity. From these considerations, I also construct a defense of heidegger's thesis that the nature of art is, Broadly speaking, Language itself