Absolute Approximation

The modern understanding of correctness today is nothing other than a derivative concept of truth. We almost synonymously use the expressions “right and wrong” as well as “true and untrue.” Correctness appears as a falsifiable correspondence of a statement with factual reality. Yet, as it often seems to us, correct facts frequently appear to be mutually incompatible. And is not appearance also, in a certain sense, being? Truth is more than the totality of individual correct facts. It is emergent. Everything that is “unconcealed” is true; thus, the correct is true, but not everything true is correct.
Truth is “unconcealment” (Greek: ἀλήθεια, Aletheia), meaning the revealing or making visible of being. Now, art is a way of “unconcealment” in that it opens the view of being, allowing what was previously hidden to become visible: The artist disrupts habitual ways of seeing, creates new connections or perspectives, and thus enables us to experience reality in a way that goes beyond mere correctness. By stripping the familiar of its self-evidence, art elicits the “unconcealment” of being and evokes that moment of truth in which something suddenly appears in its true essence.