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Understanding is a 'language event' founded upon a 'silent agreement' between participants in a conversation. This silent agreement, built up of conversational aspects held in common, is what makes social solidarity possible and shows that the methods of science are an inappropriate starting point for our self-understanding. However, with the advent of industrial technical civilization, the question arises whether understanding has come under the control of a centrally steered communication system where language is a consciously wielded instrument of politics with a corresponding loss of free insight and critical judgement. Only via a hermeneutic logic of words, which begins from recognition that words get their meaning from the open space of living conversation, can critical judgement be defended in the face of the authority of science and technology.

Hermeneutics is a mantic art involved in the translation of the unintelligible into the intelligible. However, within modern contexts the term possesses a more methodological sense - 'a universal doctrine for the interpretation of signs'. This conception of hermeneutics was given impetus during the Renaissance with the quest for theological objectivity, but it was with Schleiermacher and other philosophers of the Romantic movement that hermeneutics was viewed as a universal 'dialogical' condition. The Romantic conception of hermeneutics was psychologized by Dilthey and re-founded upon the principle of consciousness. With Heidegger became conceived as an ontological phenomenon identical to Existenz itself. For Gadamer, hermeneutics criticizes the 'pale abstractions' of Enlightenment conceptions of philosophy for neglecting the work of concepts in philosophy; concepts that have their origins in the self-critical communicative movement of human interpretation.

The arts, taken as whole, govern the metaphysical heritage of the western philosophical tradition. The arts possess absoluteness in that in the experience of art we recognize something as 'aright', as true. Art also possesses absoluteness because it transcends all historical differences between eras. Art - and philosophy - possess a contemporaneity in that they attune themselves to the present time. Art is thus not a refined pleasure but something that shows us a world that is there for itself and as such. The significance of art therefore cannot be understood aesthetically but only through Plato's theory of 'the exact' and the Aristotelian conception of energeia as a motion without a path or a goal.