Tengo siempre a mano El origen de la obra de arte de Heidegger, al que continuamente vuelvo. Texto brevísimo pero de una profundidad que se intuye notable, sobre el que hay que avanzar en oleadas sucesivas muñido del lápiz como si fuera una espada. Un recorrido insistente que lleva más de 15 años para desandar una y otra vez las escuetas páginas, que no llegan a 100.
En el comienzo Heidegger se pregunta si es el artista el que hace la obra o bien la obra that makes the artist. And finally, how the art makes them both. This establishes a first circle of concepts intended without ever achieved. Then arose a second circle, this time composed of the trilogy thing, and useful work and questions about the relationship of each. The work that is anything but is apparently in-useful, the tool that is a little thing but it's not all work and end the celebrated analysis of the "viscosity" of the thing. Heidegger
not break their circles, spinning at high speed, like those Chinese jugglers on flimsy sticks, so that their movement concepts arise. And boy, does not appear if you get dizzy. Like a doctor, Heidegger, when it seems that we abandon the senses, gives us a "Dramamine", ie an example. Clogs Van Gogh, the temple of Paestum or some poetry of Hölderlin prevent stars our head against the floor.
Much easier, but with similar effectiveness, addresses this tangle of problems in Olivier Assayas' Summer Hours , who are taking on cable these days and I saw already several times with the "collage." First the last minute, after the first twenty minutes, finally, from the quarter hour until the very end, with interruptions. A similar approach is used to dealing with Heidegger.
The story is that of a woman who dies, leaving their children an important legacy of objects of different values, starting with a house on the outskirts of Paris. However, the story is not so much of his characters, but rather that of those things about them. How things are going to reveal what these characters are each of the three children, sisters, grandchildren, the housekeeper, museum technicians, scholars, officials, the lawyer for the estate and visitors museum where some of these things will stop.
The film is also an essay on the things themselves. How the same thing is sometimes useful , other work and many others simply thing simply by its mere "viscosity." The vase stored, forgotten on the shelf is the same as in trouble is taken to receive the unexpected flowers and the vase Bracquemond also exhibited at the Quai d'Orsay to the distracted gaze of tourists.
Ultimately, Heidegger Assayas and reflect together on the art, that magnificent and mysterious device that makes things and sometimes useful work. Works that are in essence carrying more beauty than truth, or better, are beautiful in both are bearers of truth. A truth used to know and recognize, an existential truth, because it also produces an increase in vitality. For Assayas, this situation is particularly powerful, as its reflection on art is, in turn, too, in my view, a magnificent work of art.
A wonderful pearl found in the sea of \u200b\u200bzapping, just as he also comes to me, "the hour of summer."
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