"Todo arte es completamente inútil". Continuidades y discontinuidades entre Ser y tiempo y "El origen de la obra de arte" Translated title: "All art is quite useless". Continuities and discontinuities between being and time and "The origin of the work of art"

Abstract

Resumen: Este trabajo se propone analizar el papel del útil (Zeug) y su diferencia con la obra de arte en "El origen de la obra de arte" a la luz de lo desarrollado en Ser y tiempo. Mientras que "lo a la mano" se constituye por su estructura remisional que inaugura del Dasein, el arte "abre mundo", es decir, abre una nueva red de significados, independientemente del sentido que le quiso dar el artista. Que el arte "muestra el ser del útil" no quiere decir que meramente muestra "la esencia de una bota", sino la estructura remisional de "lo a mano". El cuadro de las botas de Van Gogh funcionará como ejemplo para mostrar las diferencias entre la obra y el útil. A la luz de esta interpretación, analizaremos las críticas de Schapiro y Schaeffer a la lectura heideggeriana del cuadro del pintor holandés.

Translated abstract

Abstract: This paper aims to analyze the role of the equipment (Zeug) and its difference with the work of art in "The Origin of the Work of Art" in relation with what was developed in Being and Time. While the "ready-to-hand" is constituted by its remisional structure that the Dasein inaugurates, the art "disclose a world", disclose a new net of meaning, independently of the sense that the artist wanted to give it. That the art "shows the character of the equipment" does not mean that shows merely "the essence of a boot", but the remisional structure of the "ready-to-hand". The painting of Van Gogh's boots will work as an example to show the differences between the work and the equipment. In view of this interpretation we will analyze the critiques of Schapiro and Schaeffer to Heidegger's explanation of the painting of the Dutch painter.