  In other words, art is dying only as aesthetics, and the death of art as aesthetics makes possible the transformative rebirth of art as something other than a subject’s experience of an object.  Indeed, just as modern subjectivism led beyond itself historically into late-modern enframing, so Heidegger believes enframing, in turn, can lead beyond itself into a genuine post-modernity, an age that transcends our late-modern age’s ongoing technologization of reality and its nihilistic erosion of all intrinsic meaning (the void which we try to fill with all our superficial talk about “values”) (see Thomson 2011, 60–2). This hope for an historical turning toward a genuinely meaningful post-modernity is what motivates Heidegger’s phenomenological attempt to describe and so convey a post-aesthetic encounter with art, to which we now turn.