Poïesis is etymologically derived from the ancient Greek term ποιέω, which means "to make". This word, the root of our modern "poetry", was first a verb, an action that transforms and continues the world. Neither technical production nor creation in the romantic sense, poïetic work reconciles thought with matter and time, and man with the world.
In the Symposium, Diotima describes how mortals strive for immortality in relation to poieses. In all begetting and bringing forth upon the beautiful there is a kind of making/creating or poiesis. In this genesis there is a movement beyond the temporal cycle of birth and decay. "Such a movement can occur in three kinds of poiesis: (1) Natural poiesis through sexual procreation, (2) poiesis in the city through the attainment of heroic fame and finally, and (3) poiesis in the soul through the cultivation of virtue and knowledge."
Martin Heidegger refers to it as a 'bringing-forth', using this term in its widest sense. He explained poiesis as the blooming of the blossom, the coming-out of a butterfly from a cocoon, the plummeting of a waterfall when the snow begins to melt. The last two analogies underline Heidegger's example of a threshold occasion: a moment of ecstasis when something moves away from its standing as one thing to become another.
Plato wrote that techne (in the sense of an art or craft) represented a threat to peace, order and good government for which Reason and Law “by common consent have ever been deemed best.” Aristotle saw it as representative of the imperfection of human imitation of nature. For the ancient Greeks, it signified all the mechanical arts including medicine and music. The English aphorism, ‘gentlemen don’t work with their hands,’ is said to have originated in ancient Greece in relation to their cynical view on the arts. Due to this view, it was only fitted for the lower class while the upper class practiced the Liberal Arts of ‘free’ men (Dorter 1973).
Is this at the heart of the dilema about Photography pre 1970's?
Socrates also compliments techne only when it was used in the context of episteme. Episteme sometimes means knowing how to do something in a craft-like way. The craft-like knowledge is called a ‘technê.' It is most useful when the knowledge is practically applied, rather than theoretically or aesthetically applied. For the ancient Greeks, when techne appears as art, it is most often viewed negatively, whereas when used as a craft it is viewed positively: because a craft is the practical application of an art, rather than art as an end in itself. In The Republic, Plato's knowledge of forms "is the indispensable basis for the philosophers' craft of ruling in the city" (Stanford 2003).
Techne is often used in philosophical discourse to distinguish from art (or poiuesus). This use of the word also occurs in The Digital Humanities (the study of how new technology affects the concept of knowledge itself) to differentiate between linear narrative presentation of knowledge and dynamic presentation of knowledge, wherein techne represents the former and poiesis represents the latter.
wikipedia 21 August '09
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