letting happen of truth is the movement that prevails in the clearing and concealing, or more precisely in their union, that is to say, the movement of the clearing {GA 5: 72} of self-concealment as such, from which in turn all self-clearing stems. What is more, this "movement" even requires a fixing in place in the sense of a bringing forth, where the bringing is to be understood in the sense given it on page 187, in that the creative bringing forth "is rather a receiving and an incorporating of a relation to unconcealment."
In accordance with what has so far been explained, the meaning of the noun Ge-Stell [enframing] used on page 189, is thus defined: the gathering of the bringing-forth, of the letting-come-forth-here into the rift-design as bounding outline (πέρας). The Greek sense of μορφή as Gestalt is made clear by Ge-Stell so understood. Now, the word Ge-Stell, which we used in later writings as the explicit key expression for the essence of modern technology, was indeed conceived in reference to that broader sense of Ge-Stell (not in reference to such other senses as bookshelf or montage). That context is essential, because related to the destiny of Being. Enframing, as the essence of modern technology, derives from the Greek way of experiencing letting-lie-forth, λόγος, from the Greek ποίησις and θέσις. In setting up the frame—which now means in commandeering [Herausfordern] everything into assured availability—there sounds the claim of the ratio reddenda, i.e., of the λόγον διδόναι [the reasons, grounds, or accounts to be rendered], but in such a way that today this claim that is made in enframing takes control of the absolute, and the process of representation [Vor-stellen, literally, putting forth], on the basis of the Greek sense of apprehending, devotes itself to securing and fixing in place.
When we hear the words "fix in place" and "enframing" in "The Origin of the Work of Art," we must, on the one hand, put out of mind the modern meaning of placing or enframing, and yet at the same time we must not fail to note that, and in what way, the Being that defines the modern period—Being as enframing—stems from