读麦·讲演·人与媒介（1979）·033

……The equipmental being of the equipment consists indeed in its usefulness. But this usefulness itself rests in the abundance of an essential Being of the equipment. We call it reliability. By virtue of this reliability the peasant woman is made privy to the silent call of the earth; by virtue of the reliability of the equipment she is sure of her world.……

Now the artist translates the hardware or equipment into another mode for contemplation.

……器具的器具性存在更确切地在于其实用性。这种实用性本身就在于这器具一种本质性存在的丰富当中。我们称之为可靠性。受这一可靠性驱使，农妇参与了土地无声的呼唤；靠着器具的这一可靠性，她对她的世界充满信心。……

像这样，艺术家将硬件或器具转换成了另一种沉思模式。

按：在麦氏看来，艺术家将硬件转换成沉思模式。沉思，contemplation，感觉上帝同在的出神，凝视。

麦氏这一段引文，引自Martin Heidegger “The Origin of the Work of Art”（Basic Writings, pp162-164），另见海德格尔《林中路》第一章《艺术作品的本源》。