It demands its own kind of discipline and conquest. Thus, for example, the staged accomplishment of factories built for the purpose of fabricating machine tools for other factories. Modern machine technology is a specific kind of "truth." We may believe that technology, as the control of space and time, is never undertaken without purpose, and is therefore no end in itself. This, however, is a misunderstanding grounded in a failure to grasp the essence of modern technology. And this results from failing to question that which underpins it—the order and unity of "space and time." Heidegger then deconstructs the concepts of space and time, arguing firstly that these cannot be merely "objects," as though they were some gigantic containers in which everything is accommodated. Yet neither can we conclude that they are merely subjective. Is space, over which wars erupt, merely imaginary? And is time, which tears us along and tears us away, merely subjective? Such metaphysical interpretations of space and time will be of no help in understanding the locality and journeying at the heart of Hölderlin's non-metaphysical poetising. Space and time comprise the framework for our calculative domination and ordering of the "world" through technology. But it remains undecided whether this process is turning human beings into mere planetary adventurers, or whether it is the beginning of another tendency, toward new forms of settlement and resettlement. According to Heidegger, that poetry of Hölderlin's taking the form of the "hymn" has taken into its care this becoming homely in one's own. He asserts that "one's own" is in this case the German fatherland, but immediately adds that "coming to be at home is thus a passage through the foreign." This is why this poetry necessarily takes the form of a dialogue with foreign poets, specifically, Pindar and Sophocles. What must be carefully listened to in the hymnal poetry of Hölderlin is this "resonance" of Greek poetry, on which basis Heidegger turns to the interpretation of "Antigone". The choral ode from the "Antigone" of Sophocles is according to Heidegger the singular work radiating throughout the poetry of Hölderlin. Heidegger had previously interpreted this ode in his 1935 lecture course, "An Introduction to Metaphysics", and in 1942 he both recapitulates and extends this interpretation. Like ""Der Ister"," the ode begins with a call to the dawning sun, yet it is clear the ode is equally concerned with darkness.