  Heidegger thus implicitly contrasts two drastically different ways of comporting ourselves toward that which shows itself to us—namely, the active receptivity of a genuinely “post-modern” responsiveness to the phenomenological “abundance” of being, on the one hand, and, on the other, the endless domination of modern subjectivism (which treats everything as an object to be mastered) or, even worse, the obtuse reductiveness of late-modern enframing (which understands and so relates to everything as an intrinsically-meaningless resource to be optimized). Perhaps the easiest way to understand the difference between the poetic and technological modes of revealing Heidegger contrasts is to think in terms of the ancient Greek distinction between poiesis and technê. Simply think, first, of a poetic midwifery that respects and seeks to draw out the natural potentialities of the matters with which it works, as Michelangelo legendarily freed his “David” from the marble or, less hyperbolically put, as a skillful woodworker notices the inherent qualities of particular pieces of wood (attending to subtleties of shape and grain, shades of color, weight, and hardness), while deciding what (or even whether) to build from that wood. In the same way, Heidegger contends, “[t]he authentic interpretation must show what does not stand there in the words and yet is said nevertheless” (IM 173/GA40 171). For Heidegger, as this suggests, an “authentic” hermeneutics must work creatively to bring forth the hidden riches of a text in the same way that a true woodworker learns to “answer and respond above all to the different kinds of wood and to the shapes slumbering within wood—to wood as it enters into human dwelling with all the hidden riches of its nature” (WCT 14/GA8 17).  Our creative yet responsive disclosure of such hermeneutic possibilities is what Heidegger calls “preservation,” because it works to keep the world opened by the work alive historically as a way of seeing and understanding.