  In sum, the point of Heidegger’s juxtaposition of modern spleen and ancient ideal is not to call for the impossible revival of the lost Greek past but, rather, to help motivate a new, post-aesthetic understanding of what art could still mean for us, now and in the future. If, instead of trying to obtain a kind of cognitive mastery over art through aesthetics—or using aesthetics to extend our late-modern understanding of all that is as intrinsically-meaningless resources standing by to be optimized—we simply allow ourselves to experience what is happening within a great work of art, then Heidegger thinks we will be able to encounter the “essential strife” in which the true work of art paradoxically “rests” and finds its “repose.” When we encounter the “movement” that paradoxically rests in the masterful “composure” of a great artwork, moreover, what we discover therein is an “instability” that underlies the entire intelligible order, an ontological tension (between revealing and concealing, emerging and withdrawing) which can never be permanently stabilized and thus remains even in what is  “mastered.”[45] Indeed, what is truly mastered artistically, Heidegger suggests, is what somehow captures, preserves, and communicates this tension in the structure of intelligibility, allowing us to encounter and understand this essential tension in a way that helps us learn to transcend the limits of our modern and late-modern ways of understanding what beings are.