But in what, then, does the playing in unison of the four ways of occasioning play? They let what is not yet present arrive into presencing. Accordingly, they are unifiedly ruled over by a bringing that brings what presences into appearance. Plato tells us what this bringing is in a sentence from the Symposium (205b): he gar toi ek tou me onton eis to on ionti hotoioun aitia pasa esti poiesis. “Every occasion for whatever passes over and goes forward into presencing from that which is not presencing is poiesis, is bringing-forth [Her-vor-bringen].”
It is of utmost importance that we think bringing-forth in its full scope and at the same time in the sense in which the Greeks thought it. Not only handcraft manufacture, not only artistic and poetical bringing into appearance and concrete imagery, is a bringing-forth, poiesis. Physis also, the arising of something from out of itself, is a bringing-forth, poiesis. Physis is indeed poiesis in the highest sense. For what presences by means of physis has the bursting open belonging to bringing-forth, e.g., the bursting of a blossom into bloom, in itself (en heautoi). In contrast, what is brought forth by the artisan or the artist, e.g., the silver chalice, has the bursting open belonging to bringing-forth not in itself, but in another (en alioi), in the craftsman or artist. [QCT, p 10]
Technikon means that which belongs to techne. We must observe two things with respect to the meaning of this word. One is that techne is the name not only for the activities and skills of the craftsman, but also for the arts of the mind and the fine arts. Techne belongs to bringing-forth, to poiesis; it is something poietic. [QCT, p 12]
[…] The word stellen [to set upon] in the name Ge-stell [Enframing] not only means challenging. At the same time it should preserve the suggestion of another Stellen from which it stems, namely, that producing and presenting [Her- und Dar-stellen] which, in the sense of poiesis, lets what presences come forth into unconcealment. […] [QCT, p 21]
[…] Enframing, as a challenging-forth into ordering, sends into a way of revealing. Enframing is an ordaining of destining, as is every way of revealing. Bringing-forth, poiesis, is also a destining in this sense. [QCT, p 25]
[…] Above all, Enframing conceals that revealing which, in the sense of poiesis, lets what presences come forth into appearance. […] [QCT, p 27]
The revealing that brings forth (poiesis) is also a way that has the character of destining. But these ways are not kinds that, arrayed beside one another, fall under the concept of revealing. Revealing is that destining which, ever suddenly and inexplicably to all thinking, apportions itself into the revealing that brings forth and that also challenges, and which allots itself to man. The challenging revealing has its origin as a destining in bringing-forth. But at the same time Enframing, in a way characteristic of a destining, blocks poiesis. [QCT, p 29]
[…] And the poiesis of the fine arts also was called techne. […] What, then, was art-perhaps only for that brief but magnificent time? Why did art bear the modest name techne? Because it was a revealing that brought forth and hither, and therefore belonged within poiesis. It was finally that revealing which holds complete sway in all the fine arts, in poetry, and in everything poetical that obtained poiesis as its proper name. [QCT, p 34]