 It is important to recognize, however, that the unconcealment at issue is not a matter of the bringing about of some form of complete and absolute transparency. The revealing of things is, in fact, always dependent upon other things being simultaneously concealed (in much the same way as seeing something in one way depends on not seeing it in another). Truth is thus understood as the unconcealment that allows things to appear, and that also makes possible the truth and falsity of individual statements, and yet which arises on the basis of the ongoing play between unconcealment and concealment—a play that, for the most part, remains itself hidden and is never capable of complete elucidation. In the language Heidegger employs in ‘The Origin of the Work of Art’, the unconcealment of ‘world’ is thereby grounded in the concealment of ‘earth’. It is this sense of truth as the emergence of things into unconcealment that occurs on the basis of the play between concealing and unconcealing that is taken by Heidegger as the essence (or ‘origin’) of the work of art. This idea of truth, as well as the poetic language Heidegger employed in his exposition, had a decisive effect on Gadamer’s own thinking. Indeed, Gadamer described his philosophical hermeneutics as precisely an attempt “to take up and elaborate this line of thinking from the later Heidegger” (Gadamer 1997b, 47)