  The basic problem, we have seen, is that the way works of art function in the background of our everyday experience cannot be adequately described in aesthetic terms (as a subject’s experience of an art object) because: (1) aesthetics presupposes the subject/object dichotomy; (2) this subject/object dichotomy emerges only at a secondary level of experience, when our primary, integral engagement with the world of practical equipment breaks down; and (3) secondary structures of experience like the subject/object dichotomy cannot recapture the primordial level of our engagement with the world (the level from which it originally derives), because any such description of an external object “on hand” for a subject misses precisely what it is like to encounter “equipment” in a hands-on way. Objective descriptions of equipment bypass the very “equipmentality of equipment [Zeughaften des Zeuges]” (PLT 32/GA5 17)—as Heidegger still phrases the point in “The Origin of the Work of Art”—because such descriptions fail to notice, let alone capture, what it is like to be integrally involved with equipment in engaged use. The fundamental problem, then, is: How can such engaged use ever be adequately described and communicated?