  These five “essential phenomena”—the historical ascendance of science, technology, aesthetics, and culture, on the one hand, and, on the other, that historical decline of the divine which Heidegger (echoing Schiller) calls the “ungodding” or “degodification” (Entgötterung) of the world—these all are “equally essential” (gleichwesentliche), Heidegger explains, because these five interlocking phenomena express and so reveal the underlying direction in which the contemporary world is moving historically. Science, technology, aesthetics, culture, and degodification are “equally essential” as five major historical developments that feed into and disclose (what we could think of as) the current, that is, the underlying historical direction or Zeitgeist of our contemporary  world.[19]   In the late 1930s, Heidegger’s name for the underlying direction in which the age is moving is “subjectivism,” a movement he defines as humanity’s ongoing attempt to establish “mastery over the totality of what-is” (QCT 132/GA5 92). Subjectivism, in other words, designates humanity’s increasingly global quest to achieve complete control over every aspect of our objective reality, to establish ourselves as the being “who gives the measure and provides the guidelines for everything that is” (QCT 134/GA5 94). Heidegger’s fundamental objection to the aesthetic approach to art, then, is that such an approach follows from and feeds back into subjectivism, contemporary humanity’s ongoing effort to establish “our unlimited power for calculating, planning, and molding [or ‘breeding,’ Züchtung] all things” (QCT 135/GA5 94).