Kant stands in the tradition of the Leibniz-Woffian school. He made the thinking through of English philosophy, especially Hume, fruitful for the for… - Martin Heidegger

Technology is in its essence something that human beings cannot master of their own accord.

This is precisely what is decisive in Nietzsche’s conception of art, that he sees it in its essential entirety in terms of the artist; this he does consciously and in explicit opposition to that conception of art which represents it in terms of those who “enjoy” and “experience” it.
That is a guiding principle of Nietzsche’s teaching on art: art must be grasped in terms of creators and producers, not recipients. Nietzsche expresses it unequivocally in the following words (WM, 811): “Our aesthetics heretofore has been a woman’s aesthetics, inasmuch as only the recipients of art have formulated their experiences of ‘what is beautiful.’ In all philosophy to date the artist is missing.” Philosophy of art means “aesthetics” for Nietzsche too—but masculine aesthetics, not feminine aesthetics. The question of art is the question of the artist as the productive, creative one; his experiences of what is beautiful must provide the standard.

Eternity, not as a static “now,” nor as a sequence of “nows” rolling off into the infinite, but as the “now” that bends back into itself. … Thinking the most difficult thought of philosophy means thinking being as time.