Warum

Warum, por quê, o porque, the why, le pourquoi, Weil – deshalb, because-therefore, porque – então

Thus the one who disposes of ἐμπειρία has for the most part, as far as results are concerned, a priority over someone who disposes only of the λόγος. Indeed the latter person often fails precisely in practice. And yet, in spite of this shortcoming or failure, τέχνη or the τεχνίτης receives a priority: namely, as being σοφώτερος. The σοφία therefore is not in this case a matter of greater skill (which derives from trial and error) but of a greater power in looking disclosively upon that to which the practice refers. The μάλλον has to do with a “more” of insightful understanding, a “more” of autonomous, simply disclosive looking. Τέχνη has its τελείωσις in είδέναι. To that extent, ἐμπειρία has a drawback versus τέχνη in that what its object is remains hidden to it: the εἶδος is still συγκεχυμένον. (Cf. Phys. I, 1, 184a21f.) On the other hand, in τέχνη the “what” (quid) of its object is given. Τέχνη goes back behind the referential connection of the as soon as-then to the because-therefore. The if-then can thus pass over into the because-therefore. But the as soon as-then is still alive even here; in the because-therefore it is elucidated and transparent. Yet the temporal characters only step into the background, they do not disappear. And in the because-therefore, as disclosed in τέχνη, the connection between ground and consequence is already predelineated. That which in the referential connection is primarily αἴτιον, due to something, motive for something, becomes more and more the ἀρχή. The “why” is then no longer that which leads to results but simply that which discloses beings. The whence-connection in the structure of beings, and thus beings themselves, become disclosed and understood more and more. In the tendency toward simple disclosive looking at beings with regard to their ἀρχή resides the σοφώτερον. Hence in τέχνη σοφία is predelineated. (GA19RS:52-53)


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