The Art of Dying

Heidegger: Mortals dwell in that they initiate their own nature – their being capable of death as death – into the use and practice of this capacity, so that there may be a good death. To initiate mortals into the nature of death in no way means to make death, as empty Nothing, the goal. Nor does it mean to darken dwelling by blindly staring toward the end.

The possibility of a “good death”, in the face of both the essential Nothingness of death itself as well as the inevitability of this death, is identified as (an) important part of the way in which we, as mortals, as “daseins” (mortals for whom our own mortality has become an issue) “dwell”, exist and are as we are.

This implies an Art of dying, and in turn this art itself implies the various modes in which it may come to surface. In the gradients of these modes, loosely articulated under the notion of authentic/inauthentic, we begin to uncover what it is about man qua man that makes the having of an artfulness in the face of death so fixed into the being of this man. The “in the face of the inescapability of death” to the one who is doing the facing, within the unfolding of the comprehension of this relation we might begin to get a sense of what death signifies to this entity, how this signified is signified and what this might represent about the nature of the entity for whom the signifying is a signifying.

And once this has been begun to be traced we may begin to allow the productions of this tracing to affect ourselves as beings, as “daseins”, in how the implications of this understanding are mapped and re/mapped back onto the tracing surface itself.

On the tsukamaki = hilt wrap, approximately. I believe I made a mistake: The ura knot is the final knot securing the maki to the tsuka.