Latest / Carne Cruda Podcast / Derroteros: Las personas y las cosas, con Inés García y Paula Ducay, PUNZADAS (CARNE CRUDA EXTRA)

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Derroteros: Las personas y las cosas, con Inés García y Paula Ducay, PUNZADAS (CARNE CRUDA EXTRA) · Carne Cruda Podcast

0:06
Goodbye goes equally course. Put it well on the road to the middle direction
0:13
taken to reach the end, proposed set of data that indicate the way to
0:17
reach a place. I think we' re leaving for a written address.
0:21
For Maria Diaz. Alema is going to be the end of a book that
0:25
contains a defeat then in line marked on the map of tides to guide the
0:30
pilots futa route course, stop rotting ros ros to think walking with Indes García
0:42
and Paula Ancay punctuadas, Paula inés. How are you? Hello, how
0:50
are you? As you are very tired, I do not know why with
0:53
many dreams you have had a busy yezmi, for the truth is that yes.
0:58
Between pitos and flutes and all the things we do. We' ve
1:00
had a month of February as exhausted. In fact, I don' t
1:03
know how time is given. Not bad, if your novel goes well,
1:06
it sells, it sells yours. I also hope it' s selling.
1:10
I think he' s got that case, too. Well, what are
1:12
we going to talk about today, so today we' re going to talk
1:15
about objects. Not something everyone has around them. If it is, everyone
1:19
can identify because we don' t give it much importance. Of course,
1:22
there' s the thing that we wanted to ask ourselves a little bit if
1:26
we give importance to everyday objects that surround us daily to you which objects come
1:30
to mind if you think about everyday objects. So, in general, the
1:33
toothbrush, the sneakers walking around the house for example, radio, books,
1:38
table, pencil, glasses, jajas, glasses and for people who don'
1:42
t see well, is the most important thing. We wanted to think about
1:48
this a little bit, whether we are aware of the importance of objects or
1:51
if we repair that importance only when objects are broken or lost. This happens
1:55
a lot with the cups. Cups are a tremendous drama cup. You think
2:00
it' s a good thing, it' s important in your life,
2:02
but you don' t fix much on it either. Suddenly, a cup
2:04
of coffee breaks in the morning and eye and fatal. Yeah, yeah,
2:09
yeah, be that one that comes off and then you try to hit it
2:14
over and over again, but it just falls off. He' s always
2:15
in a lot of danger. Also, because we wanted to ask ourselves also
2:19
for a little bit about the affective relationship that we have with some objects and
2:23
also about how our feelings are related to objects, that is, to those
2:28
objects and to the material and consumerist culture, which is something that is always
2:30
present, because it is everywhere. And also think a little bit about whether
2:34
there are ways to value material objects that are not necessarily subject to market logic.
2:38
Okay. There' s that thing called sentimental value. Of course,
2:42
it is not that they are expensive, but that they are simply dear faces
2:46
to oneself. Yes, exactly. It is also cool to repair as in
2:50
the word thing because we have called it object and we call it a lot
2:53
of artifact, because the authors that we are going to bring so call it.
2:54
But it has as a very pejorative assessment, saying something happens to us
3:00
when you write a text or something. Me, when I' ve seen
3:01
that I put something, I say no. This word is like inferior that
3:05
it' s true, that' s true, that' s uh,
3:07
and then it' s good for a lot of things and I mean,
3:09
it' s synonymous with what we' re talking about You have to vindicate
3:13
the word thing, you have to rivinter the problem with a small word.
3:13
It' s the small word, that despised word, but it' s
3:16
really what surrounds us. They' re more than just an object. Object
3:20
is that when we' re going to philosophize, let' s call it
3:23
object is artifact save because it' s already picture that you' re home
3:30
Paula, pass me the artifact of coffee we' re going to start talking
3:30
like that. This is the revolution that we want to propose today that in
3:34
defense of the word, something should also be called as mothers. This is
3:37
the east you have on top of the other and you' re God what
3:39
he' s saying. Well, that' s where we talk about things
3:43
and these exactly. And to think about all these things, we bring some
3:46
readings. No. The first of these is entitled spaces of intimacy and material
3:52
culture by Fernando Broncano, who is a gentleman we have already brought to on
3:55
other occasions. Yeah, yeah, I' ve already got it on my
3:58
homework list. Yes, and this is a little book that begins with a
4:01
poem by José María Gabriel and Galán that is entitled the embargo in which a
4:05
day laborer is to be impounded by the debts he has contracted during his wife
4:10
' s illness, which has just passed away. And in the poem you
4:14
talk about a lot of objects says a little something, as well as good
4:16
stuff. I don' t care anymore. They' re no good to
4:19
me, but you can' t touch my bed where my wife died,
4:24
where she wanted it, where she cared for it, where her body has
4:27
been. And this precious poem that we recommend to people who look for it
4:30
to be the Internet, serves Fernando Broncano a little to repair in one thing
4:34
and I quote in the final moments, the objects leave the background and advance
4:40
to the foreground of the experience. This is where our deepest affections, memories
4:45
full of emotion and that which gives meaning and meaning to lives seem to be
4:49
deposited. And then we see that the love relationship is a little inseparable from
4:56
this material culture that we all have. In this material culture, the life
5:00
plan that unites us all is deposited. And when there is a break,
5:03
whether it is a loving, friendly break or even the most definitive break,
5:09
it would be death. As in the poem, suddenly, the spaces and
5:12
objects that inhabitants, because they dye with pain, dye with memories and become
5:15
a bit of an unbearable hell. It is said, example, that we
5:20
can all understand very easily when a person dies and we find his house empty
5:27
because of that absence he has left, but at the same time it is
5:30
full of all those things that that person possessed, that that person, because
5:32
he used in his day to day and in fact, dealing with the belongings
5:36
of someone who has passed away is always a very painful and very intimate moment,
5:41
and there are people who do it right away a little, because it
5:45
is something traumatic and you want to take it off and how to box it
5:46
in all those things that you have to do. When someone dies and there
5:47
are people who delay as much as possible and who keep them for years,
5:53
either clothes or who smell of that person. So it' s a very
5:56
intimate and very personal thing. Well, and then the breakup is when a
6:00
couple separates, that separation of goods, from the things of one and the
6:04
other. That too is very painful. I always think of those objects.
6:09
Yeah, they belong to both, of course, of course, of course
6:12
they' re part of the couple' s story. Yeah, I always
6:14
think of this thing that' s also said a lot like social media.
6:16
How nice it would be to put our libraries together. It' s like
6:20
how you marry someone or be around someone a lot and put the library together.
6:23
I think ay that divorce, that library, I punched, clean,
6:27
uh for the books. I mean, this has happened, of course,
6:30
and it' s happening. Yeah, it' s happening right now,
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there' s people taking classes right now. Yes, yes, the Ulysses
6:35
is mine you give two things. Yeah. Okay. Here is a wonderful
6:40
confluence, which is that Fernando Broncano quotes Eva and Luth man who here all
6:43
our referents, quoting one another who, by the way, I have to
6:46
invite Eva one day. After all you quote her, please, let'
6:49
s invite Eva Ius to raw meat. Of course I do. Well,
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Broncano repairs that there can be no human relations and in the presence of all
6:59
these artifacts that we were commenting that they cannot be considered simply instruments, that
7:04
this has to do with the version, this pejorative that commented on the word,
7:08
which is because sometimes it is as if good the cup that you use
7:11
for your breakfast is a tool, an instrument, but he defends that they
7:15
are actually demeaning deposits, but that the reactions become unintelligible, that is,
7:21
that the social life needs artifacts and the mediation of all these objects. In
7:27
fact, it compares it to how we also need language and we wondered doing
7:30
the script if, in fact, we could not consider objects as a form
7:34
of language. Yes, very good announcement. Yes, because they build rooms
7:41
ornate our own bodies. The clothes and all the garments we put on communicate
7:46
define identities, that is, that they act on the social environment and,
7:49
in fact, activate very different emotions, both intimate in your most private and
7:54
social life because you present yourself before society, covered with artifacts or objects.
7:58
In fact, you always talk a little bit about fashion as a way to
8:01
express fashion as more personal, if you build your identity. This is quite
8:05
obvious. There are relationships between culture, spaces, artifacts. Communities. According
8:11
to Broncano, culture exists in networks of artifacts. There are no cultures without
8:16
artifacts. They are not means or instruments of antecedent representations, but means or
8:22
environments, but culture cannot grow or flourish. And here, so that we
8:26
understand it to give very obvious examples. For example, there are no religions
8:30
without artifacts. We have idols, totems images, whatever. There is also
8:35
no education without academies, libraries, pens, tables, that is, culture
8:39
contains symbols or practices that we might consider to be immaterial in nature and these
8:45
need something else, which are those material supports that support symbolic systems. This
8:50
seemed to us a very interesting idea raised by Broncano And despite its importance,
8:56
the interesting thing is that we have generally left things and artifacts as we have
9:01
considered it inferior or minor, as I said we have considered it many times
9:05
simple tools and it is clear that they are not because, as we said,
9:11
they mean, delimit, allow or prevent doing things. In fact,
9:13
for Broncano they have a social life. The artifacts, like social relations,
9:18
have a material existence. Social songs are given in material environments and surrounded by
9:24
objects, things, artifacts. In fact, few things are simply functional,
9:28
simply tools or instruments. Broncano encourages us to think just that what he said,
9:35
because before, in those cups where you' ve been eating breakfast for
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years or he said that garment of your Jersey clothes and full of tickets,
9:41
is that I have one when the book said this is my third two yes
9:46
of balls. Yeah, yeah, yeah, yeah, yeah, yeah,
9:50
yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah,
9:54
yeah, yeah, yeah, yeah, yeah, yeah, yeah,
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yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah,
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yeah, yeah, yeah, yeah, yeah, yeah, yeah,
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yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah,
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yeah, yeah, yeah, yeah, yeah, yeah, yeah,
10:05
yeah, yeah, yeah, yeah. Of course and in fact, when
10:07
you compared objects with the language I thought, it is actually a story about
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the objects that surround us, that we have to relate to ourselves in order
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to know where we are and who we are. The objects that surround us
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and especially the household objects that we have chosen or that others have chosen for
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us in the end, are the account of our lives. When you spoke
10:24
of the person who dies and you go to his house and you are absent,
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but there is the account of his life there written in the objects.
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In fact, another of Broncano' s ideas is that things and objects have
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biography, which is just what you were commenting on, have meanings, are
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depository of meaning, of emotions, of narratives, of memories, of memories,
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of all this that composes our own biography and says the artifacts in which
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we are immersed keep the memory of the experiences that they have produced in us
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and their history is entangled with ours in the unpredictable way, clear and then
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of the ways in which we have understood. Objects are like consumer objects,
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subject to market forces. And here Bronca does not bring Eva and Uth back
11:07
always with us, which explains a little bit that advertising that clearly, if
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we think of objects and think of market, we have to talk about advertising,
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is not that it generates a materialistic culture out of nothing, but that
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what it does is raise the material goods that we already have to a semi
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spiritual level. And she says advertising is then transformed into the official art of
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capitalism, of good definition, of good publicity. Then he speaks a little
11:31
bit of capitalism as a machine of producing desires that project that fulfillment of desires
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into objects. We always want things, we always think we' re gonna
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be better off buying the cologne car, etcetera. We' ve already talked
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about this here before and you think a little bit that through consumption you create
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meaning. According to British anthropologist Amer and Daglas, consumption is our main information
11:52
system about society and it is true that if we stop to think about it,
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consumption, what people consume informs us of many things, of what they
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want, of who they want to be, of what they aspire to,
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of what keys they have managed to touch advertising so that these objects are consumed.
12:09
And then we also have what we all know, which is the logic
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of the accumulation of the whole subject of programmed obsolescence, of those objects that
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are made to be broken after x time. We can think of mobiles,
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which I think is one of the most obvious objects that we cyclically consume and
12:24
which we also want to renew, because what you want to do is buy
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the mobile of the next generation, that there is an infinite renewal of those
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goods and those objects that have a great impact on our social ties and Bronca
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does not put a little what we talked about before. An example that returning
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to clothes, which is that when we are at home, we continue to
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wear old clothes, from which we are not able to leave. And yet,
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what we do is buy us all the time new clothes, but always
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out, the clothes that I' m going to put out of the house
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so they see me, to go to work, to go meet my friends
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whatever it is, and then our identity is marked by the price of those
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clothes that covers us, not that mobile that we have bought. And it
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links it a little bit to the subject of the strategies of distinction, which
13:05
is an idea of burdie, which is a little like the value that each
13:09
social class gives to a given object and like that, because it constitutes a
13:11
mark of distinction. If you carry a Guchi bag, you kind of know
13:15
where you' re coming from. And to talk about these things we wanted
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to bring a very curious book, which is the beauty of the everyday object,
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which is of that oh my God and is collapsing of Japanese s.
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You' ve seen a diptongo is that I can' t soetsu Yanage from
13:33
Osaka' s perfect accent editorial. Yes, yes, and it is very
13:39
interesting because it is a thinker that Japanese, as I said he lived between
13:43
one thousand eight hundred eighty- nine and one thousand nine hundred sixty- one
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and through his ideas about the traditional crafts of Japan, did as a compendium
13:52
of articles Over the course of time, which is what gathers in this book
13:54
of the beauty of the everyday object. Well, the Japanese also have an
13:58
obsession with the object, the smallness, the detail, the care of the
14:03
objects. I mean, for me it' s the most fascinating thing about
14:07
a very fascinating trip I made to Japan was to go into the stores to
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see how perfectly outlined objects were placed. It is a kind of same affection,
14:16
almost obsessive, almost pathological for a society like ours, which is much
14:20
more disordered and dispersed. Of course, Yanagi came to collect seventeen zero pieces
14:24
at the Japanese Museum of Popular Crafts in Japan. This, although in fact
14:31
thought and theorized about fundamental aspects such as world peace, also has a lot
14:35
about philosophy of religion. But we are going to focus on these very interesting
14:39
reflections about the beauty and value of everyday objects. And, concretely, a
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text and this book that is called" What is Popular Crafts", which
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is one thousand nine hundred and thirty- three eyes and I, every time
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I read a paragraph, said one thousand nine hundred and thirty- three,
14:54
were pointed all the time on the margin. Yes, very strong. He
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uses a term that is a neologism or l l o s or a thousand
15:00
nine hundred thirty- three says that the Japanese language has recently been introduced.
15:03
In fact, it was he and two other people who proposed it. It
15:07
is Mingay this term that min means people or masses and king means crafts.
15:13
Then they propose this term to think about all these issues and I love that
15:18
we are bringing as Japanese. This is something like new we don' t
15:22
know Japanese. No. If it' s not clear in my mental breakdown,
15:26
you don' t have time either. Not sure, imagine now class,
15:28
although I would expect everything if you look like you speak Japanese, you
15:33
are calling us Tacus, Javier, a little bit or sleeves. We'
15:39
ll have to get into that world. Yes, certainly, well, then
15:41
Mingay, as I said, and inés literally means people' s crafts and
15:46
pretends to refer to those ordinary objects that ordinary people use in their daily lives.
15:50
Not what we talked about at the beginning of the toothbrush that Javier said,
15:54
and those objects that are distinguished from those of the fine arts that were
15:56
considered more aristocratic and would be like those everyday things, those say different tools
16:03
and embrace like all these typologies. And no one distinguishes any more two main
16:07
features of these objects, one that are made for daily use and two that
16:11
are ordinary and simple objects that have a number of characteristics, such as that
16:15
the price is affordable, that they are not limited editions, that the people
16:19
who make them are not famous people, it is not that they have like
16:22
a firm or a great brand, but that they are anonymous artisans, that
16:26
it is also nice to think like this about anonymous artisans, who caught your
16:30
teeth probably made in China. This is so, but well, in other
16:33
things, in these thirty- three, there was more or less an anonymous
16:37
craftsman doing lights thousands of days of teeth. Hopefully, they are objects in
16:41
which the aesthetic pleasure that they can produce does not prevail, but pretend to
16:47
be used on a daily basis and have to do with all these practices that
16:49
are rooted in the life of normal people. And to sum up, he
16:52
says, these are objects indispensable to the daily life of ordinary people who are
16:56
employed in common environments, are produced in large quantities and are not expensive.
17:02
And then he very much insists that they have to fulfill the practical purpose for
17:07
which they have been created. That is to say he criticizes that already in
17:10
one thousand nine hundred and thirty- three, in the case of industrial production,
17:14
often the commercial interest, that is to say the fashion or the economic
17:17
benefit compared to the functionality, is placed above. On the contrary, he
17:21
says they must provide honest functionality. And I love this because utility is so
17:26
important and it gives it as an ethical character, because for him, if
17:30
we take precedence over beauty or whatever it is in the face of utility,
17:34
we are close to what he calls moral corruption, so it would be like
17:40
an immoral and dishonest thing he says must be conceived and made whole and honestly
17:45
for its practical use. And also, of course, this is one of
17:48
the things that is most advanced is that it is posed that hastening and cheapening
17:52
in reality what they give as results are ugly, useless and undurable objects that
17:56
are related to this skirt of attention, of honesty with the immoral. I
18:02
love that you relate it to honesty as they are like traditional values of the
18:07
Japanese people. Also a little not, I think the whole subject of honor
18:10
and that and that relates it as with the most everyday objects. I already
18:14
told you that they have the gall to do things very well done, so
18:18
that you do a toothbrush neglected by haste, it is against honor. Honor
18:26
Jamponte is beautiful, because it also forces me to stop and to go slower
18:30
and of course, to do things in time. Yes, in fact,
18:33
behind all of this is the idea that we had with Broncano at the beginning,
18:37
which is that these objects we use daily, they accompany us, they
18:41
are around us and this makes it an intimate part, in our life.
18:44
That' s why he says that you should look for the natural, the
18:47
direct, the simple or the resistant, the sure, all these kinds of
18:51
things. In fact, he is already concerned in the world in which he
18:53
lived video one thousand nine hundred and thirty- three, specifically that objects are
18:57
no longer looked at as before. I mean, he' s been doing
19:00
this a long time. In the past they were treated says more carefully,
19:03
with respect, if they used a lot of time, and that made their
19:07
beauty bloom. It is for him that what makes the beauty of things bloom
19:10
is that they last long with you, that they are well made out of
19:12
clear things the scheduled obsolescence. Or to him, for it would already be
19:18
very dishonest is that it is one thousand nine hundred thirty- three already knew
19:22
it no one forgets. Indeed, to the extent that they constantly accompany us
19:26
in our lives, these objects give rise to a sense of intimacy and even
19:32
affection. The relationship between people and things was much deeper then than it is
19:36
now. And he sets the example that you, when he was young,
19:41
could say this, belonged to my grandfather and you said it with pride.
19:45
However, it says today, on the contrary, things take place in such
19:48
a way that they have deprived us of the affection or attachment we once had
19:52
for them. And he says, from the point of view of social customs,
19:56
that implies a capital loss. Of course we could think now, like
20:00
vintage clothes and all the second- hand stores have become fashionable but of course,
20:04
we would have to ask ourselves whether it' s a fashion or whether
20:08
we' re really like giving value to those objects that were from other people.
20:12
But, we wanted to propose this today, not to think about what
20:15
relationship exists between people and things and to ask ourselves what the consequences of the
20:19
disappearance of Yanagi' s healthy and vigorous craft tradition and the one he warned
20:26
of in one thousand nine hundred and thirty- three. And if we give
20:27
priority to objects because they are new rather than products, as he said,
20:30
honest and sincere and as our present world works, well it seems that we
20:34
are getting much closer to the production of objects that no one considered immoral anymore.
20:40
The priority is speed, accumulation, obsolescence, lack of attachment to things.
20:44
Here, too, we came to mind. This book by Marta Riezu
20:47
' s Fair Fashion Anagram, is an essay about all this, but linked
20:51
to the world of clothes and fashion and how we consume clothes, as crazy.
20:56
But, well, we wanted to end up with a little hope,
21:00
because there are examples of people who do value and claim those artifacts or these
21:04
things that make up their day- to- day lives. And we brought
21:06
you another little book to talk about this. Yeah, plus, another one
21:08
came out not long ago, so it' s kind of a novelty called.
21:11
We still have the phone that is edited in Kai' s alpha and
21:15
written by Erika Vanhon. This certainly won' t go away either, but
21:18
you haven' t said it wrong. Hey, I don' t know
21:21
it' s German. I don' t think that' s it.
21:22
He doesn' t do it like Dutch Dutch can be good. We'
21:26
re making this up if you want to or something like Erik van Horne Fardos.
21:32
Yeah, well, it' s a very curious book and I'
21:34
ve liked a lot where it' s told that a mother and a daughter
21:38
are writing together the bituary of the mother, which is almost ninety years old
21:42
and the fact is that it' s a book of fragments that we always
21:47
love where we go a little bit about how they relate, and the daughter
21:51
lives in Ireland and the mother in the United States, that is, they
21:52
' re far away, with which phone calls are very important. As you
21:56
can see the title and in fact, the arrival of the panda is reflected
22:00
and because the distance that separated them before the ocean. Now there is no
22:03
distance at this much larger moment and you only have the phone left to keep
22:07
communicating. As I was saying, these are small fragments, sometimes a little
22:11
longer, but they are usually no more than two pages in any case,
22:15
and they gather details of the mother' s life, many of which are
22:18
precisely related to everyday life and to all these objects that we have been commenting
22:22
on that surround us. It is very curious, above all, that much
22:26
of this information would not normally be included in a text of this kind,
22:30
in an obituary and would not be considered, in fact, relevant to the
22:33
official account of the life of a person who, as we said, we
22:37
could actually narrate our life through all those artifacts objects that have surrounded us and
22:42
how they have accompanied us throughout different stages, But we do not usually give
22:47
importance to these details. There are also many details about the relationship between the
22:51
daughters, the daughter and the mother, the manias, the rituals, the
22:55
memories of both. So we might ask ourselves what information we consider necessary or
23:00
ons when we want to make an account of our life, what things matter,
23:03
what we want to remember, what we want to conserve, we consider
23:08
relevant those objects that make up our life or not. Of course and in
23:11
the book, the author traces a kind of portrait of the mother through all
23:14
these movements, of the preferences she already had, of the customs that remained
23:18
a little as confined in the walls of everyday life, of the home of
23:22
the intimate. And we bring some examples that have seemed curious to us,
23:26
such as, for example, marking the eggs with names that he wrote pencil
23:30
in the shell, because it is what he has always done and they put
23:33
men baptize the eggs, of course, but then it is clear that he
23:37
kills them because he will fry them. The coves. Yeah, it'
23:41
s written, too. My father has been dead for years, dead,
23:44
the cards are still placed on the corner of the drawer with the marble countertop
23:47
for someone to close. As a result of my father' s death,
23:49
letters tend to be sent without closing. My mother doesn' t lick the
23:53
envelope flaps and my father isn' t there to do it. Or how
23:56
nice this is. Yeah. Also, here you see super well the importance,
23:59
the o, the affections and the disappearance of a person and then that
24:02
work that he did with that artifact remains unfulfilled, it remains empty. Then
24:06
she also says that her mother has calendars upstairs, in rooms she doesn'
24:10
t go into because she' s obsessed with measuring the passage of time.
24:12
This is for a story. Things are happening to me. It' s
24:15
a wonderful book like little details and rituals of a person who' s kind
24:21
of cool to be able to access it. Let' s remember the title.
24:22
We still have the phone and the author also wonders what to do with
24:26
these things that have always been there almost automatically, that are incorporated into our
24:30
day to day, because they will disappear and she says now that my mother
24:34
is about to move. That number will stop being the phone I can dial
24:38
without thinking this too another drama. When someone dies and you still have their
24:44
number and that number is well given to someone else, well you can'
24:47
t call anymore. It' s not like a thing every time, checking
24:52
the phone book, meeting the phone of some friends who have passed away and
24:57
giving me a tap in the heart. Yeah, yeah, and I didn
25:00
' t erase it. Sure, sure, sure, he' s kept
25:03
giving on the agenda that it' s no longer total. We wanted to
25:07
end up recommending an exhibition that was right now in Madrid, at the Teasen
25:11
Museum, which is that of Isabel Quintanilla, the one that I am very
25:12
excited about. With this they have told me a lot about this, because
25:15
I was the day that they opened it this February 27th to June 2nd.
25:19
That is, there is time, and it is important to say that it
25:22
is the first monographic exhibition dedicated to a Spanish artist in the teasen that was
25:26
a very relevant figure of the realism of the environment, Antonio López, which
25:30
is the figure that sounds a little more to us all. But in his
25:33
works we see above all the stays of his different homes, workshops, personal
25:37
objects and everyday landscapes that he already saw through the windows of the houses where
25:42
he lived well, my favorite painting. I think it' s a glass
25:45
on top of a fridge that' s absolutely fascinating, that played a lot
25:48
with light and white colors and this kind of thing and it' s a
25:52
very good example of how the most everyday objects, like what I said about
25:56
glasses, food windows. There' s a lot of pictures where arenkes appear
26:00
and this kind of stuff I haven' t eaten in my life and I
26:03
don' t know if they exist or, it' s a fictional joke.
26:04
They' re always like an object like a fictional one. There aren
26:08
' t even radiators that activate emotions. And I liked it so much because
26:14
we were preparing this script and I had it very much in mind that you
26:18
were walking in the exhibition and all the time you heard those people say,
26:22
my mother, these glasses we had in my house. Or this bathroom is
26:23
the same as the one at my grandmother' s. So it was a
26:26
very good example of how people can connect emotionally through objects, that is,
26:32
the importance that affections have. In this sense, my mother said oh,
26:37
this radiator was the first one we had at home when I was a child.
26:41
As all these kinds of things are closely related to memories entirely. Yeah,
26:45
they' re souvenir depositaries. Yeah, and we wanted to say goodbye
26:49
by throwing, like we do every now and then, a bunch of questions
26:52
that you already answer. That' s what we' re here for,
26:56
that' s what we' re here for, and that' s why
27:00
you' re here to ask the exact questions, and we wanted to ask
27:00
a little good. If this relationship with the objects that surround us and articulate
27:03
our life, it must be their production linked to consumption or to a certain
27:07
idea of beauty, as Yanagi and the Japanese author proposed. We must understand
27:12
them as tools or as artifacts that make up our identity and that are deposits
27:17
of affections and emotions. They' re a form of language. We must
27:21
give them courage and nothing to think about, to think kids and to see
27:26
Isabel Quintanie' s exhibition if you are in Madrid.