[Applause]

[Music]
we are here in the third class of the
course the traditional menotti here we are
already in the second part of the second
chapter of truth and method page 143
222 where gamer is going to expose his
ontology of the arts in the previous chapter he
has criticized the
aesthetic approach of the arts and here he is going to
expose his biological approach
based on the concept of game gadamer
understands that the game can be a canon
to understand how the arts work
and this is largely due to the
importance of the german term
speed in German espil not only
refers to a game but also
to a theatrical play theatrical work sites aus
film which literally means a game
to be seen just as in English we
speak of a screen plate and a screen game
is a film
and of the same and the In the same way, in
the term spielberg box peeling, it is
used to talk about games but
also about musical performances
, it is said to be the instrument
Just as it is said in English high flying
instrument game I play with an
instrument the fact that in
Spanish we say let's say play but
rather interpret I play an
instrument indicates to what extent the
connection between the game
interpretation / hermeneutics and biology
is very close
to every month he is interested in games
because in them there is a
dissolution between the subject and the object
we explained it in the first class we
gave in the games the protagonist
is neither the player nor the result but the
dynamics of the game the tension or
relaxation the seriousness or fun
that occurs within each game the games are
not defined subjectively by starting from
the conscience of the players but
they are not defined merely by
objective parameters such as the
regulations but rather each game must be
played the games are object and subject at the
same time and hence it is usually
used in the middle voice especially in
German in castell or a little less p To
talk about this type of games, we talk
about playing, betting, defending,
attacking
because games then in a
mediation process where the important thing is not
the subjects and objects but their
process of interrelation. In
addition, the games have a
curious dynamic. mixture of seriousness and ui
and fun games by comparison
the rest of life seem frivolous they
seem simple an entertainment but
within them there is a certain
seriousness a certain normativity
within the game because there is only one result in
the rules to commit
to look for and also each individual who
participates in the game has to author
represent a certain function has to be fulfilled he
does not intervene in the
game in an
unformed or deformed or indeterminate way but rather
he fulfills a certain function the
goalkeeper for example in soccer can
catch the ball difference from the rest
of the players when he is inside his
area but not outside it for that
reason the game It is not only
interesting to analyze how
the indymac cofpa arts work, how society as a
whole works, because
on a day-to-day basis we also play roles,
just like in a soccer game,
which are very relevant in the
specific context in which they occur, but
not outside of them for example and here
I am playing at being a teacher I am
playing my role with my role as a
teacher if I were to give this
same badge out there who would sit down
to listen to me
and I connect this with the reference that
I already made in the first class to the
weeks of the garden by rafael sánchez
ferlosio in the in the first week of
the two rafael sánchez ferlosio titles
his book on linguistic and
logical questions the weeks of the garden in
reference to a work that has not
reached us by cervantes but he wrote before
a book called the sisters of
the weeks of the garden that right
now we have no record of,
well,
ferlosio calls his book lin güístico the
week of the garden because they are basically
a compilation of the wreckage or
of the fragments that remained from his 15
years of linguistic research where he
reached a conclusion very similar
to that of gadamer before having
curiously read adame para ferlosio
hay Two types of games are the
recreational games that have a purpose in
itself in such a way that the interesting thing is not to
win but to participate, we already gave the
example of dancing when not competitive sure
None
to throw the top
or even then that is not the own
drug addiction as a form of game it is
not about being the one who gets the most grams of
heroin but the one who, with
whatever doses, reaches a
certain ecstasy in front of this type
of games are the competitive games
where the important thing is the result the
football is all teams cooperative games
have in turn a
competitive dimension where
solidarity within the group is
characterized for being opposed to another different group,
None
well, ferlosio identifies these two
games with two attitudes regarding
life, there is the childish attitude that is
recreated in the pure aesthetic appearance of
what is in front of him and that he
does not care if the game is interpreted
one and again the same one a child doesn't
care that already knowing the result of a
story he wants to be told exactly
the same story one night after another in
front of the adolescent that what
ferlosio's judgment wants is to impose himself
on others that is to say that he conceives of his
relationship with the world as a
competitive relationship where the
important object is to succeed, to impose himself, to dominate,
then evidently ferlosio
interprets in a very negative way the
adolescent action of today's society
where everyone understands their own
activity as an imposition on
others to a triumph or an achievement of
their own dreams a social advancement or
whatever they want to see compared to the vision
they have de ferlosio that one must
dedicate oneself to certain things not to
achieve not to assert
oneself over others but for the end in itself what
the child is interested in is not playing so as not to
understand the child of course but it is in
an image that is perhaps too idyllic
of childhood but the idea is that
basically not the child is interested
in the thing itself and does not care about the
repetition of the process while the
adolescent is interested in the
novelty for the imposition etc.
the games can become an object
of contemplation in the moment when
an imaginary fourth wall is erected at
the moment when these games open up
to a strange type of participant a
passive and passionate patient
None
participant is the passive passionate and patient participant
is the spectator who no longer intervenes
as an agent as an actor but that is
simply dedicated to contemplating to
see what happens
what is interesting is that in most
of the parts if the part is advanced of
the arts, that is to say, of the
games that are already artistic 2 always
incorporate within them the idea of a poten
ial spectator gamer gives the examp
e of one of the reserved music what
as called reserved music in the Middle Ages reser
ed music is a
music composed to be performed
only in a circle of
educated refined musicians who can interpret
and understand what is happening
well say say every time even when
the musicians are playing for themselves they
do not play arbitrarily but
try to play the best they can under
the idea of a potential spectator, that is to say,
he idea of a potential listener is incorpor
ted in the idea of perfection
t is why they distinguish within reserved m
sic between better and worse interpretat
ons the example that I would give of h
w a game becomes an art ho
occurs once
herbal dun is that bill de is
the change that occurred in
celebrating soccer goals
when they they introduced
recording and photography cameras in
stadiums before
live
TV broadcasts of football matches were introduced it was
normal when a goal was scored for
the team's players to gather
in midfield for
obvious reasons It is the point that is closest
to all of the defenders, the
forwards, the midfielders,
etc. However, when the
television cameras were introduced, the celebration
of the goals was no longer carried out in
the center of the stadium but in the
corners that It was where he was
, photographers and cameras are still found today
at that
time when football is no longer a
game but also a show
and a work of art and therefore the
celebration of the act artistic
par excellence that is the goal, it is made
facing that total spectator that is the
recording camera
as I say this process of artistic tion
is what nothing he calls me fer baldung
uncivil of the transformation into entering
construction that is how the
translator of follow me translates it that
translation seems very bad among some things because of
the cacophony in class yesterday there was
a student who said she wanted to study
and was studying philosophy because he
believed that philosophy taught to speak
well, etc., we have already made some
points about it, saying
that rather the opposite, and this is a
good example of it, philosophers
really like this type of
cacophonous resonance compared to what is
traditionally considered good prose that it is that it
does not rhyme in the terms that
transformation in construction is an
expression and barbara in Spanish and that it
also does not preserve the
etymological and lexical resonances of the weak term
that bildu is lexically related
with bildu and with bill the image and
the formation of the one we talked about in the
first class for that reason I prefer
the translation ferb album sign up q
I prefer to translate it by transformation
into effigy or transformation into figure.
I understand that the term figure is a
bit complicated, it has a resonance with
Platonic writings, that is why the term
effigy continues to maintain the end of
figuration, figure, etc., perhaps it is more
interesting, okay, transformation into
effigy, transformation into figure
an effigy a figure is basically an
accomplished entity that already has its own
autonomy that has its own purpose
that has already been constituted before us as
a world with a purpose as as a
completed act not as an action but
as an act that has already been carried out out
this process of consummation of the work
of art that knows what gadamer calls
transformation and clearly distinguishes it
from alteration in german fer en drum
an alteration in gadamer's opinion is
a mere qualitative transformation or
a half qualitative modification where
an object follows remain the same except
that it has been altered or modified by
certain give properties a banana if
you can still be a banana although
now it has a different color a different flavor
etc. the transformation or
metamorphosis the fehr baldón is
basically the transformation the
modification of the substance although the
qualitative properties are the same
the fehr baldón par excellence the
metamorphosis par excellence is the one that
occurs in the
eucharistic transubstantiation the wafer in the
consecrated host continues to have
the qualitative properties of bread
even though its substance is no longer
food but the body of christ'
okay remember that deferr disgrace is the
title that they have original in german the
metamorphosis of kafka the book that
we call the story that we
call in spanish the metamorphosis
in in german is called deferr baldón the
transformation is worth where
where
gregor samsa is still saying that 2
ansa has changed both internally and
externally
there is a cancellation of the previous being that
hi jo that good son who brought the bread
home has become a nefarious being
there is one and no one remembers who
that was anymore vale in the transformation is
therefore a negation of the previous being and
a revelation of his
previous essence by through the transformation into an
effigy the games demonstrate their
true essence and their true essence
was to be objects of expectation so
we have one that occurs with this
transformation into an effigy there is one there is a
dialectical or paradoxical modification on the
one hand
the game opens up
with respect to the public and it could be closed
by becoming a self-contained object
the public saw it as something closed
as something closed as something that
cannot intervene you cannot go to las
meninas and with a brush say I am going to
try to improve what you have done,
true this if there is not an
opening and at the same time a closure to
this paradoxical process of opening to the
public and closing and self-
containment where you already have something you
cannot it's going down to the field and telling them to
come out for the month and that I'm going to
score goals at paris saint germain in
this paradoxical process
of opening and closing is what
gadamer calls total mediation in total mediation
what media cancels itself himself
as a mediator
against those who defend aesthetic distinction
the idea that works of
art are objects that help
us position
ourselves socially gadamer stresses that in
total mediation viewers are no longer
distinguished from what they are seeing because
they recognize each other with this in the encounter
between the work and the public says gadamer
there is not a mere aesthetic contemplation
but what he calls a
broad tive and substitutive recognition
the public not only knows or
finds sensitive properties
but also recognizes what is there
in front of him he feels identified with that
object and that is what the cognitive content consists of
art art does not simply
inform us about
what he was wearing n the gentlemen of the 16th century
or the madness that the
avant-garde artists of the 20th century had, but rather they
teach us who we are what
we knew but did not know that
we knew what he was, to put it
quickly, art helps us to be the one to
arrive to be who we were
to this is also what gadamer calls
the double mimesis the double mimesis is the
relationship that is established on the one hand
between the occurrence and the archetype and on the
other hand between the public and the work
to which we refer when we talk about the
occurrence of what type this is what in
English is called type and tap on edges
what language surely you have
worked a lot on this issue of tags
and taps for now there is not the
conceptual archetype and there may be the
concrete occurrence of that concept In
particular terms, the case and the
type are worth what I would like to call an
archetypal occurrence in all works of art,
especially works of
technical art, a differentiation is produced
clear between the archetype and in the
occurrence the clearest case is the musical case
None
in the case even of the good one also
in plays the archetype of
hamlet is the written work of shakespeare
the occurrence of hammett is every time
the la is performed the archetype of the
ninth symphony is
beethoven's score in the concrete occurrence
every time that score is performed,
None
well, gadamer says that it is
traditionally understood that the
relationship between the occurrence and the
archetype is that the occurrence tries to
approach the archetype a good
interpretation of beethoven will be the one
that is most faithful to that archetype that is
the score, however it affirms that there is
a relationship of mutual influence between
the archetype and the occurrence the example
that I am going to give precisely of beethoven
will surely be very significant for
many of you
Especially those who are trained in
musical matters will know the debate
about the tempo of the scores. ace of
beethoven
beethoven were the first musicians
to use a metronome
neil meltzer's metronomes
and clearly stated that
how many bits per minute their music should be played
at until then musicians
simply put allegro andante piano
pianissimo but but every doctor
beethoven clearly stated that
it had to be played at 50 bits per
minute 42 because they had a metronome
now well
and each and every one
of the conductors who have
played beethoven have always played
below his beats because it was because
he was seen to be too fast in other words,
the beats that beethoven puts on are
as if they were puch music and if it is
interpreted it would be a kind of as
if you put a video for two on youtube
basically
and this led to questioning whether
beethoven had really made a mistake when
putting them the bits for minute or
if instead beethoven was a
very punky man who did not want to be heard
in a classical way his scores
but rather that it was like a kind
of exhalation recently two
Spanish researchers this was also
disclosed by jaime altozano on his
famous youtube channel who came to the
conclusion that beethoven when using
properties the metronome did not know which
of the establish two marks in a
metronome you have a weight below and
a weight above that one is modeling to
mark the time with which it is sounding,
well, it is a piece of
metal approximately one and a half meters in
size that coincides precisely with the
difference of 12 bits per minute that
practically all the conductors
establish with respect to the
beethoven score all the conductors of the
orchestra practically all play
beethoven 12 bits per minute
below what to put in the archetype
and in what is carried the conclusion is
that beethoven instead of measuring according to the
bar above they have a piece of
metal here it puts 50 bits per minute
averages it by the one below here it says 62 bits
per minute here you are you are witnessing
in this example a correction of the
archetype from the occurrence is
the occurrence of a lot
of orchestra conductors who realize that it is
absurd to play that speed in the
score that the score is corrected
by the by the interpretation by the
concert in agreement because there is the
first mimesis the mimesis between the
occurrence and the archetype the second
mimesis is the same is between the public
and the work the work resembles the public and
the public resembles the now there is a
recognition an identification this
None
recognition occurs at the moment of representation
always understood as a re-
presentation just as recognition is
a re-knowledge that expands what is
known representation is a
new presence that expands what
was there what is going to be basically points out
is that the process of
execution or access to a work forms
pa The part of the work is not something arbitrary,
let us say the elements that are supposedly
accessories of the concretion of a work, the
works of art are not mimetic and
representative with respect to nature,
but rather they are representative in the
sense that in order to be real and
current they have to be re-presented
in front of us and the form in which they are
presented is important, what then is
the temporality of the aesthetic, the
romantic ideology affirms that works
of art are temporary, that they are not
situated in any context, and for that
reason they differ from mere
craftsmanship, which in the face of prose life
we have the poetry of art that elevates us beyon
our concr
te circumstances evasion is not allowed elevates us towar
s an eternal and redeemed time gadam
r considers that this ideol
gy is false and that on the contr
ry the typical temporality of the works
of art is that of simultaneity,
a simultaneity that does not consist in a
mere becoming present of the subject and the
object but in an effort to
unify two different time horizons,
that of the public and that of the work,
on the one hand we have the scores where it
says 62 bits per minute and on the other hand
we have some more
orchestra conductors who realize that this
speed you can't play
sheet music like we do and a setting
each try some believe
some interpret beto bianchi
others say no he was
doing it wrong and we'll never know
exactly and it doesn't matter
much what beethoven meant it will be
a old 88 who did not know how
a metronome worked that passed exactly
according to the temporality to
understand the temporality is works of
art gadamer says that you have to look at
the canon of the party the each party the
parties the carnival Christmas
birthdays are celebrations that are
repeated punctually circularly in a
specific spatial and temporal context
but always open to novelty d and
change, in fact, it could be said that the
party is not but a ritualization of
change, carnival or Christmas is celebrated,
which is an attempt to mark and
return different or unify what is
different, because each winter is
completely different from the previous one for
much that we insist
and in the same way the party is the
eternal return but an eternal return of
the same but of the different no matter how
much your famous your tenth
birthday exactly the same as your
twentieth birthday your tenth and your
twentieth birthday are substantially
different
this is the transformation and another that
gadamer spoke about there is a
temporary transformation that makes you no matter how much you
do exactly the same thing on your tenth
birthday in tourism birthday the passage
of time transforms your perception and the
substance itself what is being
celebrated the party is not justified for
an ideologically good deed but on
your birthday we presumably celebrate
your birth but what we care about bears
our birth, but the passage of
time and the year that has happened and that
transformation within one's identity,
what is the role played by
the public in this festive simultaneity
that occurs in works of art,
especially scenic ones, where each time that
the hamlet is interpreted is a different hamlet
None
although qualitatively it is the same
each function is a different function the
role of the public is that of the co2 of
antiquity the zeros in Greek without
archaic Greek refers not so much to the
contemplative name but to the
emissary representatives of a certain city that
participated in the panhellenic festivities such
as the festivals of the
corinthian competitions or those of néméa or those of olympia
None
the heavens the 00 today were men
who went as representatives of their
city to participate or to contemplate or
judge what was what happened on stage is
that vision is that representative participation
None
which is the responsibility of the public for the
spectator is not s someone who
judges things from a distance but is
someone who participates instantly participates
but also represents a certain
function within the work the
spectators do not take refuge in their
sameness but to participate in the
work they have to forget themselves they
have to be enthusiastic and have
to be possessed by gods outside
of themselves,
that is to say, spectators by definition, a
passionate and patient passive subject, as
we have said, who is carried away by
what is on stage, is not a distanced subject,
objective judge, etc., is
someone who feels he forgets himself
and focuses on the thing itself as
opposed to the mere curious ghadames
differentiates very clearly between the
curious and the spectator the curious is the one
who simply wants to find out the
latest news to be on the page that is
said in French to
know is coming to works of art
as documents of a present and to
which it must be informed as if they
were the newspaper this audience this
kind of audience was never real was a book
never hear a song again
never watch a movie twice a
second time because he is not interested in the
childish aesthetic experience if
you will of the
patient and passive passionate participation in the work of art
what interests him is to be informed
about what happens what
is fashionable what is fashion he says corpse
what characterizes the object of
curiosity is that deep down he is still
not completely indifferent to it does not make the
slightest sense for the spectator there is
nothing in it to which one would really want to
return and find oneself in
it, since what establishes the charm of
contemplation is the quality of its
novelty, that is of its abstract
otherness, this is made evident in the
fact that its dialectical complement
is boredom and drowsiness,
that is to say, the curious one, what he is doing
is tics that he has participated in a
carnival never again so that he can return to
another c arnaval if they are always the same and he
has participated in christmas why
celebrate christmas again if this is
always the same the three kings
for manuel the little tree etc and he
says instead he says his patent in the
fact that his didactic complement
is boredom and the botarga
mento instead what is shown to the
viewer as a game as a game
as the game of art is not exhausted in the
momentary feeling dragged by it
but rather implies a pretension of
permanence and the permanence of a
pretension
the term pretension here in spanish
translates the german hans brujo which
can also be translated as exigency what
gadamer affirms is that there is a
mutual relationship of exigency or demand between the
spectator and the work the spectator
demands that the work be entertaining
that it have a certain quality that be
plausible that hook that flow that is
not eternal while the work also
demands the public the work that demands
a detail from the public finished level a
certain historical knowledge that
the work tells the public if you want to
understand me you have to get down to my
level when you open for example
james joyce's ulysses you demand something from
the book but the book also demands
something from you because yes you know nothing about
reality and the odyssey and you have no
idea about avant-garde literature
forget about opening that book then a
mutual demand and that is what that
simultaneity of time and horizons consists of
not that suddenly you are the book and that's
it you are located in dublin
1902 but there is an effort in which
you demand and other things the book and the
book demands certain things from you
corpse sets the example of the tragic
because it sets the example of the tragic because
in a famous way aristotle of his
poetics when defining tragedy, it
incorporates the audience as an essential part of the
play and the audience's reaction
to the play i
will quote the translation made by
valentín ga rcía yebra the most mythical the
famous trilingual translation of
poetics in Greek from Latin and
Spanish and cebar valentín garcía yebra
the tragedy is the imitation of an
action is forced and complete of a certain
amplitude in seasoned language separated
each one of the species of dressings in
different parts acting the characters
and not through the story
and that through compassion and fear
carries out the purge of such
affections again you see here the mania
of the translators of philosophy to
look for cacophonies compassion fear and
purgation are three words that arrive
they are glued and more to each other the bad
prose of the philosophers I
prefer to translate catharsis by
purgation instead of purgation which is a neologism
that I do not know what comes with
passion in Greek it is eos or geniuses of
walnut I do without sheen the eos
while phobic fears the famous phobia because
here as you see in the definition of
tragedy in the end as something central is
the reaction of the public in the tragedy
has to arouse fear and
compassion purging purifying said
peace passions generating a
catharsis whoever attends the spectacle again does not
attend under the mode of aesthetic distinction
does not go there as a frivolous
simply to recreate but rather goes
like the parishioner like a faithful like
someone who participates in a
mystical communion where the spectator
identifies with what happens on
stage to the point that he
himself purifies his passions however the artist
does not have total freedom just as the
public is subjected to what appears
on stage the public the artist
is also limited he cannot if he wants
to move the public if he wants to
drag it he has to use a
common shared language he cannot
speak in a private language about what
happened to him last night or what toast he ate
the morning before you have to use a
shared language a series of myths
that are common like so many other
gamero offers its in interpretation of the
famous aristotle definition this
definition has been much discussed and widely
interpreted because of course when
talking about the purification of fear and
compassion there are some who
interpret that what it is about is
empathizing with those on stage by
punishing others' heads the he briz
and the ha martín of those characters
better be a mayor because he [ __ ] his mother you
learn is carmen is in someone else's head and
don't do it is the objective of the famous
purification of fear and compassion
that you feel the fear of hell what is
going to happen to me and the compassion of the
poor devil that has happened
to him okay that is one of the readings
but to another reading it is the reading that
it is about the opposite it is about
None
you seeing those figures of the heroic aristocratic past,
None
stop feeling sympathy for them and
see them as the infamous scoundrels
who [ __ ] each other, the mothers go
with the children and they killed each other between
brothers and things of this guy compared to
what happened in the time of the
aristocracy all these wild things remain
now we are in a democracy and
in a democracy there is no pederasty or
homicide between brothers in
agreement then there are the two readings
plug in the reading that you have to
empathize with what is in front of you and
that on the other hand is the reading that
you, on the contrary, have to do is
purify yourself of that natural sympathy and
see that as a kind of
whatever it may be, always with a counter example,
always understood that tragedy it was
a negative education in the tragedy one is
educated about what not to do that
is very clear that that is more than
clear that it is very curious in the main
pedagogical instruction it
had as its objective the formation
from the negation of the previous status quo
good today today it is still being
done, that is to say, today the
current ideologues and pedagogues do not
teach you to be a good feminist, they
point you to the mac all the time hista,
that is to say, they are more determined to point
out the herd or
harvey weinstein or whoever it is to say
follow this model of the good ally the
good ally is very difficult to find
however the machos are not
found everywhere not this is the
same model okay says gamer gamer
offers a reading halfway between
these two, that is, understands that in
tragedy there is a process of identification and identification at the same time
None
there is a moment when you identify yourself
with scene resolution and then you
also discover the historical distance
that separates you from that composition even if it
is a composition that has been made
simple yesterday the right that it be another
person with other perspectives obliges you
to that double exercise of
projection and alienation by the way it is
very common to oppose Aristotle's poetics by the way
to the famous poetics
of bertol brecht who understood that the
goal of the art of epic theater was
to distinguish itself from what is ucedía
that is, this is a clear demarcation
between the stage between the show
and the public
to open this was done in a way
a series of ways for example that
the figures on the stage were not
flesh and blood characters but
had a series of gestures of actions
repetitive that they were totally
constantly questioning the fourth
wall, that is to say that it was
constantly shown that this was a fiction
that the idea that
this is like life itself and that
the love of Romeo and Juliet can also happen to you will not be dispensed with,
but that If it were
constantly being stressed that there is
an authorial and fictional work
that cannot sell emotions
wholesale but must in any case
show the structural conditions of
production of both the work and the
public itself, it is worth questioning that
difference between the one who speaks and the one who
listens between the one who is a spectator and the one
who is a spector
we go to the
aesthetic conclusions hermenéut icas that gadamer draws
from this theory of this
anthology of art in the first place gala
mer is seen in the challenge of applying
this biological paradigm to the image to
plastic works of art the
plastic arts are characterized
because in them we do
find singular non-repeatable works in
the real meninas that are not a
party that reappears every year
but rather an object that is there that is
contemplated from a distance where there is
clearly a demarcation between what
is inside the frame and what is
outside the frame marco
each month recognizes that it is precisely the
importance granted from the 18th century on
to the visual arts, very surely
to painting, that creates the
aesthetic ideology that works of art do not
require a
historical-linguistic interpretation that works of
art are understood directly
from the phenomenological perception of
what is there before you see the painting and
the painting moves you without you knowing
if that's it that's christ or buddha or
socrates
besides the paintings from that we
did it are no longer exhibited in
specific or architectural contexts but
those contexts begin to be extracted to be
exhibited as exempt objects and not
only the paintings that are in
some case they scratch from the wall of the
places of worship where the
ritual part was mixed with the visual part but
also even the buildings themselves
are brought stone stone from greece
from turkey to germany the famous
pergamon altar or what jean did with the
frieze of parthenon agree then
what each one has to face in the
last instance is the distinction
established by nelson goodman between arts to
achieve fast and autographs the arts to
achieve fast are those that have
to establish an electrical relationship
between the archetype and the occurrence
None
each An example that I would give is literature,
each occurrence of Don Quixote is Don
Quixote, if you have Don Quixote in pdf, that
is Don Quixote. i have don quixote
graphic of a wall that is not a copy
of don quixote that is don quixote if you
have yes here we stand when reciting
hamlet this is hamlet this is not a
copy of javier that is an occurrence of
favor it is a case of hamlet Unlike
what happens with the arts
that can be reproduced without losing their
content and that each instance is a
case of the general archetype in autograph arts,
None
photographers remain fixed in an original
that can be copied, but there is a
very clear difference between the original and
the copy is a photocopy of Monalisa it
is not Monalisa it is a copy of
Monalisa if I photocopied Don Quixote I don't have
a photo I don't have a copy of Don Quixote
he told me as is I have Don Quixote
so what does he have each month
what is the difference between the original
of the copy that occurs within the
works of plastic arts and this is where it
is important to make the
terminological precisions that are reflected in
the blackboard rra
in german calls the plastic arts
bildende künste
imaginative formative visual art and what we
know as visual studies
they call it bill wissenschaft those of the
science of the image or the science of
formation on the other hand build as we already
explained in classes previous means
image but it also means the
artistic field photography or painting
has written there means copy
while kurt vile means
product image and it is and the important thing is to
establish what is the relationship between
these three terms the image itself the
image or the painting and the copy worth the
challenge I insist is to offer a theory of
the plastic arts where the connection
between proto image frame and copy is
dynamic and repetitive and representative
the same dynamic that has been studied for
the case of the performing arts
and to establish his theory to
use three terms that In
Spanish,
the terms forster
or n give this look and representation
forst the um in German refers to the
internal subjective mental representation
and is sometimes called even translated into
Spanish by conception is very
common the formula in katyn in German and
you had faith that it is me I imagine or
me I think I believe it is worth the force Monday
the classic representation of
philosophy an object a subject
represents an object to give this look
on the contrary it is the
external physical objective representation that sometimes
translates as foundling exhibition this is
what the Greeks called ecstasy The
former phrase is famous from the Iliad where I know
where it is described what
the shield of Achilles is like, for its part
representation is a representation that
is halfway between the objective and the
subjective
in German it is not said to give this
democratic look but rather it is said to represent
representative democratic representative democracy
that is the type of
substitute representation where the
representative is a substitute
who it is in the place of something else,
well then the traditional conception of
the plastic arts understands that the
relationship between the image itself and the
painting the image is a forster it is a
conception that is to say the artist conceives or
imagines a next generation that is later
embodied in a
specific painting this specific painting in
addition to yours is subsequently
exhibited
through its copies the more
copies an original has the more valuable
the original becomes the monalisa is
probably the most valuable painting
in history because it is the most
represented and the most copied and the most
worked the traditional image is what
is a unilateral relationship
where the next gen allows to conceive the
painting and the painting is exposed in the copy,
well for gadamer the relationships are
rather the inverse, that is, it is the
copy that creates the painting and It is the painting
that represents the image itself, not in the
sense of a mental conception, but in the
sense of a social and symbolic representation.
institutional that of the painting not
only reflects as if it were a
mirror the proto image
this by the way these are the three
these are
the three moments the three distances
with respect to the idea that is in plato
in plato we have the urbil that would be the
idea of
inting the image that is the thing itself
and we put the copy that is the art by
plato under this scheme is how he
denounces the arts the arts are a
mere copy of the copy the arts take
one and a painting that is the physical object
and then copy it well gadamer on the
contrary they are pointing out that
the relationships in the other direction
basically that is the basic thesis of
each mind the copy creates the
original the example we have given of
the monalisa and the painting creates the by another
image that is to say converts something into an
object of aesthetic contemplation the
example I would give is the quince of
antonio lópez the quince antelo no
lópez is not simply a reflection one by
one as if it were a mirror a photograph
of a quince but converts the
quince into an aesthetic object of contemplation
there is a clear difference between
the quince antonio lópez the painting by
ante lópez and the image of the quince on
the page or as of mercadona on the
mercadona website
the image of the quince is a mere
copy that serves simply to know
what it is that you are buying is useless does
not convert the quince and a
gene protein while on the contrary the
quince of antonio lópez is a painting
that represents the physical quince
turning that physical object into a
protein g it is understood it is not understood it is
the other way around as it occurs in
aesthetic influence or artistic influence
None
okay
and someone will wonder well how do
we connect this theory of the
representative function to the plastic arts with
what has been said before about the arts
performances through the concept of
occasional performances are
occasional because they are reproduced or
updated on an occasion sion and not in another
it is not the same to see 'oedipus the king' in the
theater of epidaurus in the open air in
greek with people who go with tunic
than to see 'oedipus the king' in the theaters of the
canal in a low ceiling with
smoke machine microphones lighting etc.
central heating it is not the same to see
star wars on a 30 meter screen
popcorn and coke in the cinema than to
see it at home while you are
making pizza on the computer according to
the performing arts when how and
where are very important and the plastic arts are
also good plastic arts
if, in the sense that it betrays square meters,
they have been painted to be in a
certain place and not in another, since
a pantocrator is painted to be in the
apse of the church and not to be in
the Gothic museum of barcelona, in addit
on to this circumstance of the occas
onal nature of plastic works in an ar
hitectural context, there is also the f
ct that there is an internal occasional nature of th
work itself and t
is occurs s especially in the portraits
when you no longer paint
charles the fifth in milberg he is not painting
any soldier mounted on a horse
anyone is painting the head
of the holy roman germanic empire in
one of his most important victories
unlike what happens in hamlet where
hamlet, no matter how much it really referred
to a specific king, is already an
archetype that is taking shape in the
various actors who play
that role in the autograph arts that do not
allow that reproducibility as
half games, said that it is
reproducibility from afar to eliminate
the importance of the original, he consolidates it, he
believes, reinforcing the mystical or magical aura
of the original in the
autograph LEDs, as I say, there is an
internal occasion to the work itself,
it is important to realize that the one who
is there is Carlos Quinto and not
just a guy anyone on horseback
before this type of art occasional plastic works
there are two approaches there is the
pure approach aesthetic mind that deals
only with sensitive properties and
loses real referents I don't care
if it's Carlos Quinto I don't care if
it's Carlos Quinto what matters is that it
's well painted compared to that that's an
approach is the aesthetic approach is the
approach that understands that
works of art are sacred works of art where
concrete referents matter little
where artistic objects have a
historical value regardless of
concrete references works
become symbolic they have value
only because they represent higher categories
or because they show us the
expressive and necessary creation of the
natural genius for that reason this is where
the long debate that
each month had in the previous chapter on the
categorical symbolic versus that
sacred and aesthetic symbolic vision is justified,
we have the other from another approach that It is
the historical approach where the works of
art that were desecrated and
become a pure sign is a would be the
role played by that same painting by
titian in a book
and history in a history manual for
2nd high school the painting
of charles fifth in the battle of milberg does not have
the objective that you believe yourself
aesthetically and that is if it is before what
you see but you know what face
carlos quinta had more or less when he won
that battle okay well gamer
says that
the being of the essence of the image is
neither symbolic nor signic it is not a mere it
is not a mere reference to another something that
is the characteristic of the sign because
we have put this this painting of Carlos
Quinto like we can put any other
or if there had been photographs of the
time we would have put a photograph
but it is not a pure symbol it is
not a it is not a total substitution we care
that be Carlos Quinto and no other,
according to
what the sign of the symbol has in common
is that they are founded on an
origin, that is, both the sign and the
symbol are justified by a reference
past the characteristic of the essence
of the image a horse between the sign and
the symbol is that its value does not lie in
a foundational remote past but in an
always updated present
nothing would have explained this to me much
better if instead if I had used
the distinction of pierce between index
symbol and icon in some way is
pointing to that indexes like the
definitions of ethics are references
that aim to focus on
the thing itself that is why it is
usually said that when the wise man
points to the moon the fool looks to the other
what matters in the indices is the
specific reference don't be
ecstatic in the said capital horse take note
that it was carlos fifth in front of
the index the symbol is one is a type
of sign that substitutes the original for the
original and that is more or less the function
that the painting performs to a large extent
with respect to the image itself,
except in those cases where there is an
internal occasion and if we care It is
very important to know that it is the image itself,
exactly that the icon was being represented
by, unlike the index and
the symbol, it is an object that is
shown to us as sacred, but not because it
faithfully represents a past reality,
but because it is an object of adoration in the
present,
the Byzantine icons russian icons
are not worshiped because there is a
photographic representation one by one of
the face of jesus christ but because at the
same time that it refers to an external reality they
replace it they replace it god
is that god that is the icon is not a
representation of god the icon god is
the icons god and that is why all the
debate between iconoclasts and with ovules
that is the debate about the
conversion of icons into idols that is to
say into new gods
well said this nothing makes me a very
curious turn that is to understand what
the Plastic arts, above all, have a
decorative function,
just like icons, and by decoration I understand decoration to be
a very rare thing, according to G.
amer is the
main function that
architecture performs but by decoration
I understand it to be very different from the usual
and the decorative
establishes a double relationship with
us
on the one hand it satisfies our taste it
has to be harmonic beautiful we care
very little what it represents but on the
other hand it decorative opens us to another
context frames us in a certain
a certain social situation
that is precisely what makes a work of
art the work of art satisfies our
symbolic pleasure but at the same time it
opens us to new historical
sociological meanings for gadamer the fact
that let's be here that the
temperature is not too cold or too hot and
that there be spaces stage you a
certain distance and I am also
a little high because you can see the
face etc. all this is decoration and
decoration understood as the satisfaction
of a certain aesthetic desire I ask
as an opening to the other and that is
precisely what the work of art the work
of art first satisfies us
symbolically to bring out the mind
as a thing that is there by itself
and then invites us and draws our
attention to the referents on the
signs on the historical beings you see the
Titian painting you are amazed at how
well painted that you are and you approach the
cartouche to find out if it will be carlos tinto
or felipe Segundo or who was that and it is
starting and that is what the relationship
with the work of art consists of it is a mere
curiosity of Valera Carlos Quinto I
am leaving I am not leaving a no yes it is not is a
constant game between the satisfaction of the
present and the reference to the past
once they have been approached and we have already
finished
the plastic arts that it gives to approach the
literary arts
because
the biological scenic paradigm that
gadamer has also has difficulties
when applied to literature the
plastic arts problem was
objectification the fact that the
plastic arts that were works that
are not repeatable that are original that
p ermite perceive
a certain thing in a certain object and that
are apparently understandable without the need for a
historical and linguistic context the
problem of literature is the
opposite literature does not seem to open us to
any social context literature is
an object of contemplation or
intimate subjective reading against this reading
against this vision of reading gadamer
vindicates the social function that
the art of writing has always had,
beginning with the fact that until the
fifth century after christ the
most common way of reading was aloud is
well known the passage from the
confessions of saint augustine where saint
augustine is surprised to see saint
ambrose at the end of milan the bishop of
milan reading quietly to this day it
is interpreted until then it
had always been read aloud even when
you were alone it is
currently interpreted that reading in a low voice
prevails more or less towards the
fifth century precisely because of the p The persecution
of Christians at the hands of the pagans
is in that context where if they hear you
reading the Bible they can burn you or
throw you to the lions that a
certain community, but for
solipsistic reasons but for very
social political reasons, began to read in a
low voice I agree but beyond that
aspect that reading in a low voice
is also a social construct and to the mind it
indicates that the social element of the
writing of literature is not
only in its oral part in the
fact that people then discuss
about the books or that those who
recite them that terry has them in his own
mind but in the very act of reading
this time is an
imaginary community with someone who has written a
text through reading
cervantes
jeter rin or whoever it is made
present to you and contemporaries it is made to you without
fining says valero
there is nothing that is at the same time as
strange and as stimulating for
understanding as writing or
even the en I meet
strange-tongued men with a foreign face
can be compared to strangeness and
estrangement, since language with
this strangeness and estrangement, since the
language of gestures and tone
always already contains a moment of
immediate understanding of what Plato says
in the letter seventh, when one teaches
orally, not only does the public have
a certain language,
a certain
linguistic expression, it also has some gestures and
some images, it has an intonation,
what is being enters through many senses
, while when one reads what
one simply has it is a visuality,
says writing and literature
insofar as it participates in it, it is the
comprehensibility of the spirit more
turned towards the strange, there is nothing that
is such a pure imprint of the spirit
as writing and nothing is so
absolutely related to the spirit as
the spirit understands d'or as she in
her sprint encryption and
interpretation occurs It is a miracle the
transformation of something strange and dead
into something absolutely familiar and common
to contemporaries no other kind of
tradition that comes down to us from the past
resembles this one the relics of a
past life the remains of buildings
instruments the contents of
burials have suffered the erosion of
the gales of time that has passed
through them,
on the other hand, the written tradition from the
moment it is deciphered and read is
a spirit so pure that it speaks to us as
if it were current, that is why the
reading capacity that is that of Coming to terms with what
is written is like a secret art, like a
spell that binds us and loosens us,
space and time seem to cancel out,
the one who knows how to read what is transmitted
by what is written, witnesses and realizes the
pure actuality of the past, the conclusion
to which we call having evidently is the
following and it is the conclusion that already
preparing 200 pages aesthetics must be
subsumed to hermeneutics
far from having a direct perception to
aesthetic properties through
None
contemplative distancing when we face
a work of art, be it scenic, be it
literary, be it plastic, there is a
transformation into an effigy, certain
playful processes where the
passive, patient and passionate participation of the
spectator is crucial before this
historical and linguistic
perspective two philosophical alternatives
we have the hermeneutical alternative of
slayer image and we have the
dialectical alternative of hegel is the image they
mean to
dialogue with the past consists in
reconstructing it in going back from
the prejudices of the present towards the
original conception of the artist
we must know what he intended
write plato cohen what was
velozquez thinking what did cervantes want to tell us
None
to win this reconstructive approach
the past is absurd and ridiculous it is an
anachronism it is kitsch
and if it is successful if it
fully reconstructs what
aeschylus meant it would
be anachronistic ico so anachronistic
for us that it would cease to be of
interest in the
face of that reconstructive approach
where the encounter with the work of art
consists of updating and directly
reconstructing what happened
Hegel's idea is that the past
can only be understood by integrating it into
the present against the reconstruction
of slayer
mager gadamer is going to vindicate the integration
of hegel that is to say to understand that the
phenomena of the past are past they are
dead but but they live in the present as
ghosts as the dead that continue to
exist in our lives the history
of the spirit must be reconstructed not
from an idyllic past that must be
updated promptly but from a
present that continues under that weight of the
dead art is something past for
us this is hegel's famous phrase
in his aesthetics lessons where
some have interpreted art as
death what is he saying that
exactly you are seeing that with
us we cannot have with him art the
same naive relationship that the
greeks had for the greeks
the sculpture of hermes was hermes was an
icon it was the god himself incarnate and for
that reason the decapitation of the hermes
forced to paralyze the invasion of
sicily in the second part of the war
of the peloponnese this is
famously explained in many plato social commentaries
None
for us art is no longer justified
by its relationship with the divine but
is justified by its own history
when a great novel is published
today these gods are not said but it is
said oh this is inspired by by wing
but rather it is said the new kafka the new
toy the new cervantes that is to say the
works of art today are justified
by their history and in that history the vision is one,
to put it quickly divine
or symbolic of art should be replaced
by a historical vision there is exactly what
None
this egm says
the works of the muse are nothing more than what
they are for us beautiful fruits
fallen from the tree a kind fate
they are to us has offered them to us as
a girl offers these fruits there is no longer the
true life of their existence there is no longer
the tree that produced them there is no
earth and the elements that were its
substance nor the climate that constituted their
determination nor the change of the
seasons that dominated the process of their
home to be with the works of that
art destiny does not bring us their world nor the
spring and summer of the moral life
in which they flourished and matured but only
the memory veiled from that reality
we care about certain works of art
not because they are alive but because they are
part of a dead past that
nevertheless continues to exist
today and before and the next the
next class the next chapter of
truth and base method simply the
unfolding of this opposition
against the
reconstructive vision from the margin
and of all the meneutical traditions
droids in rne that dictates and even yusel
gadamer is going to insist on the Latin hegel
and on that vision that hegel has of the
irreversibility of time and
despite the influence of the
past on the present still integrating it into
our current understanding and with that
we will not finish until next Thursday of
next week well to our days of
thursday of next week or astro
friday