  These four steps, taken together, form the phenomenological bridge that allows us to move from an interpretation of a particular work of art to the ontological truth inherent in all art (indeed, in all coming-into-being). In other words, these are the four steps in the phenomenological argument whereby Heidegger discovers what he calls the a-lêtheiac “essential strife” between “earth” and “world”—that is, the tension of emerging and withdrawing implicit in all intelligibility—in  Van Gogh’s 1886 painting  of “A pair of shoes”.