Issue 2: Manifestos

DADA EXCITES EVERYTHING_1921 YELLOW MANIFESTO_1928 NON-CONCRETE MANIFESTO_1959 AUTO-DESTRUCTIVE ART _1959, 1960, 1961 FUTURISM SYNTHESIS OF WAR_1914 FLUXUS MANIFESTO_1963 THE ____________ MANIFESTO _1996 CANNIBALIST MANIFESTO _1928 TOWARD AN ARCHITECTURE_1963

BLAST MAGAZINE_1914

DADA

1921

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Dada Excites Everything, Tristan Tzara and others.

EXCITES

EVERYTHING

DADA knows everything. DADA spits everything out.

BUT . . . . . . . . .

HAS DADA EVER SPOKEN TO YOU: about Italy about accordions about women’s pants about the fatherland about sardines about Fiume about Art (you exaggerate my friend) about gentleness about D’Annunzio what a horror about heroism about mustaches about lewdness about sleeping with Verlaine about the ideal (it’s nice) about Massachusetts about the past about odors about salads about genius, about genius, about genius about the eight-hour day about the Parma violets

NEVER

NEVER

NEVER

DADA doesn’t speak. DADA has no fixed idea. DADA doesn’t catch flies.

THE MINISTRY IS OVERTURNED. BY WHOM?

BY DADA The Futurist is dead. Of What? Of DADA A Young girl commits suicide. Because of What? DADA The spirits are telephoned. Who invented it? DADA Someone walks on your feet. It’s DADA If you have serious ideas about life, If you make artistic discoveries and if all of a sudden your head begins to crackle with laughter, If you find all your ideas useless and ridiculous, know that

IT IS DADA BEGINNING TO SPEAK TO YOU cubism constructs a cathedral of artistic liver paste expressionism poisons artistic sardines simultaneism is still at its first artistic communion futurism wants to mount in an artistic lyricism-elevator unanism embraces allism and fishes with an artistic line neo-classicism discovers the good deeds of artistic art paroxysm makes a trust of all artistic cheeses

WHAT DOES DADA DO? WHAT DOES DADA DO? WHAT DOES DADA DO? WHAT DOES DADA DO? WHAT DOES DADA DO? WHAT DOES DADA DO? WHAT DOES DADA DO?

ultraism recommends the mixture of these seven artistic things WHAT DOES DADA DO? creationism vorticism imagism also propose some artistic recipes WHAT DOES DADA DO?

Dada Excites Everything, Tristan Tzara and others.

1921

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WHAT DOES DADA DO? 50 francs reward to the person who finds the best way to explain DADA to us Dada passes everything through a new net.

Dada is the bitterness which opens its laugh on all that which has been made consecrated forgotten in our language in our brain in our habits.

It says to you: There is Humanity and the lovely idiocies which have made it happy to this advanced age

DADA HAS ALWAYS EXISTED THE HOLY VIRGIN WAS ALREADY A DADAIST DADA IS NEVER RIGHT Citizens, comrades, ladies, gentlemen Beware of forgeries!

Imitators of DADA want to present DADA in an artistic form which it has never had CITIZENS, You are presented today in a pornographic form, a vulgar and baroque spirit which is not the PURE IDIOCY claimed by DADA BUT DOGMATISM AND PRETENTIOUS IMBECILITY

Paris, 12 January 1921

E. Varèse, Tr. Tzara, Ph. Soupault, Soubeyran, J. Rigaut, G. Ribemont-Dessaignes, M. Ray, F. Picabia, B. Péret, C. Pausaers R.Hülsenbeeks, J. Evola, M. Ernst, P. Eluard, Suz. Duchamp, M. Duchamp, Crotti, G. Cantarelli, Marg.

Buffet, Gab. Buffet, a. Breton Baargeld, Arp., W. C. Arensberg, L. Aragon

Cannibalist Manifesto, Oswald de Andrade.

1928

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Cannibalism alone unites us. Socially. Economically. Philosophically.

The world’s single law. Disguised expression of all individualism, of all collectivisms. Of all religions. Of all peace treaties.

Tupi or not tupi, that is the question.

Down with every catechism. And down with the Gracchi’s mother.

I am only concerned with what is not mine. Law of Man. Law of the cannibal.

We’re tired of all the suspicious Catholic husbands who’ve been given starring roles. Freud put an end to themystery of Woman and to other horrors of printed psychology.

What clashed with the truth was clothing, that raincoat placed between the inner and outer worlds. The reaction against the dressed man. American movies will inform us.

Children of the sun, mother of the living. Discovered and loved ferociously with all the hypocrisy of saudade, by the immigrants, by slaves and by the touristes. In the land of the Great Snake.

It was because we never had grammars, nor collections of old plants. And we never knew what urban, suburban, frontier and continental were. Lazy in themapamundi of Brazil.

A participatory consciousness, a religious rhythmics.

Down with all the importers of canned consciousness. The palpable existence of life. And the pre-logical mentality for Mr. Lévy-Bruhl to study.

We want the Carib Revolution. Greater than the French Revolution. The unification of all productive revolts for the progress of humanity. Without us, Europe wouldn’t even have itsmeager declaration of the rights of man. The Golden Age heralded by America. The Golden Age. And all the girls.

Heritage. Contact with the Carib side of Brazil. O’ Villegaignon print terre. Montaigne. Natural man. Rousseau.

From the French Revolution to Romanticism, to the Bolshevik Revolution, to the Surrealist Revolution and Keyserling’s technicized barbarian. We push onward.

We were never catechized. We live by a somnambulistic law.We made Christ to be born in Bahia. Or in Belém do Para.

But we never permitted the birth of logic among us.

Down with Father Vieira. Author of our first loan, to make a commission. The illiterate king had told him: put that on paper, but without a lot of lip. The loan was made. Brazilian sugar was signed away. Vieira left the money in Portugal and brought us the lip.

The spirit refuses to conceive a spirit without a body. Anthropo morphism. Need for the cannibalistic vaccine. To maintain our equilibrium, against meridian religions. And against outside inquisitions.

We can attend only to the orecular world.

We already had justice, the codification of vengeance. Science, the codification of Magic. Cannibalism. The permanent transformation of the Tabu into a totem.

Down with the reversible world, and against objectified ideas. Cadaverized. The stop of thought that is dynamic.

The individual as victim of the system. Source of classical injustices. Of forgetting of inner conquests.

Cannibalist Manifesto, Oswald de Andrade.

1928

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Routes. Routes. Routes. Routes. Routes.

The Carib instinct.

One must depart from a profound atheism in order to arrive at the idea of God. But the Carib didn’t need to.

Because he had Guaraci.

The created object reacts like the Fallen Angels. Next Death and life of all hypotheses. From the equation “Self, part of the Cosmos” to the axiom “Cosmos, part of Moses day dreams. What do we have to do with that? the Self.” Subsistence. Experience. Cannibalism.

Before the Portuguese discovered Brazil, Brazil had disDown with the vegetable elites. In communication with covered had-piness. the soil.

Down with the torch-bearing Indian. The Indian son of Mary, stepson of Catherine of Medici and the godson of We were never catechized. What we really made was Carnaval. The Indian dressed as senator of the Empire. Dom Antonio de Mariz.

Making believe he’s Pitt. Or performing in Alencar’s Joy is the proof of nines. operas, full of worthy Portuguese sentiments.

We already had Communism. We already had Surrealist In thematriarchy of Pindorama. language. The Golden Age. Down with Memory as a source of custom. The renewal of personal experience.

Catiti Catiti Imara Notiá We are concretists. Ideas take charge, react, and burn Notiá Imara people in public squares. Let’s get rid of ideas and other Ipejú. paralyses. By means of routes. Believe in signs; believe Magic and life.We had the description and allocation of in sextants and in stars. tangible goods, moral goods, and royal goods. And we knew how to transpose mystery and death with the help Down with Goethe, the Gracchi’s mother, and the court of Dom João VI. of a few grammatical forms.

I asked a man what the Law was. He answered that itwas the guarantee of the exercise of possibility. That man was named Galli Mathias. I ate him.

Joy is the proof by nines.

Down with the truth of missionary peoples, defined by the sagacity of a cannibal, theViscount of Cairu: - It’s a lie told again and again.

Our independence has not yet been proclaimed. An expression typical of Dom João VI: “My son, put this crown on your head, before some adventurer puts it on his!” We expelled the dynasty. We must still expel the Bragantine spirit, the decrees and the snuff-box of Maria da Fonte.

The struggle between what we might call the Uncreated and the Creation -illustrated by the permanent contraMagic and life.We had the description and allocation of diction between Man and his Taboo. Everyday love and the capitalist way of life. Cannibalism. Absorption of the tangible goods, moral goods, and royal goods. And we knew how to transpose mystery and death with the help sacred enemy. To transform him into a totem. The human adventure. The earthly goal. Even so, only the pure of a few grammatical forms. elites managed to realize carnal cannibalism, which carries within itself the highest meaning of life and I asked a man what the Law was. He answered that avoids all the ills identified by Freud- catechist ills. What itwas the guarantee of the exercise of possibility. That result is not a sublimation of the sexual instinct. It is the man was named Galli Mathias. I ate him. thermometrical scale of the cannibal instinct. Carnal Only where there ismystery is there no determinism. But at first, this instinct becomes elective, and creates friendship. When it is affective, it creates love. When it what does that have to do with us? is speculative, it creates science. It takes detours and moves around. At times it is degraded. Low cannibalism, Down with the histories of Man that begin at Cape agglomerated with the sins of catechism -envy, usury, Finisterre. The undated world. Unrubrified. Without calumny, murder. We are acting against this plague Napoleon. Without Caesar. of a supposedly cultured and Christianized peoples.

The determination of progress by catalogues and televi- Cannibals. sion sets. Only machinery. And blood transfusers.

Down with Anchieta singing of the eleven thousand Down with the antagonistic sublimations. Brought here virgins of Heaven, in the land of Iracema - the patriarch João Ramalho, founder of São Paulo. in caravels.

But those who came here weren’t crusaders. They were fugitives from a civilization we are eating, because we are strong and vindictive like the Jabuti.

If God is the consciousness of the Uncreated Universe, Guaraci is the mother of the living. Jaci is themother of plants.

We never had speculation. But we had divination. We had Politics, which is the science of distribution. And a social system in harmony with the planet.

From William James and Voronoff. The transfiguration of the Taboo into a totem. Cannibalism.

The paterfamilias and the creation of theMorality of the Stork: Real ignorance of things + lack of imagination + sense of authority in the face of curious offspring.

Down with the dressed and oppressive social reality registered by Freud - reality without complexes, without madness, without prostitutions and without penitentiaries, in thematriarchy of Pindorama.

Fluxus Manifesto, George Maciunas.

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1963

Auto-Destructive Art, Gustav Metzger.

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1959, 1960, 1961

Auto-destructive art is primarily a form of public art for industrial societies.

Self-destructive painting, sculpture and construction is a total unity of idea, site, form, colour, method, and timing of the disintegrative process.

Auto-destructive art can be created with natural forces, traditional art techniques and technological techniques.

The amplified sound of the auto-destructive process can be an element of the total conception.

The artist may collaborate with scientists, engineers.

Self-destructive art can be machine produced and factory assembled.

Auto-destructive paintings, sculptures and constructions have a life time varying from a few moments to twenty years. When the disintegrative process is complete the work is to be removed from the site and scrapped.

Man In Regent Street is auto-destructive.

Rockets, nuclear weapons, are auto-destructive.

Auto-destructive art.

The drop drop dropping of HH bombs.

Not interested in ruins, (the picturesque) Auto-destructive art re-enacts the obsession with destruction, the pummeling to which individuals and masses are subjected.

Auto-destructive art mirrors the compulsive perfectionism of arms manufacture - polishing to destruction point.

Auto-destructive art is the transformation of technology into public art. The immense productive capacity, the chaos of capitalism and of Soviet communism, the co-existence of surplus and starvation; the increasing stock-piling of nuclear weapons - more than enough to destroy technological societies; the disintegrative effect of machinery and of life in vast built-up a reason the person,...

Auto-destructive art is art which contains within itself an agent which automatically leads to its destruction within a period of time not to exceed twenty years. Other forms of auto-destructive art involve manual manipulation. There are forms of auto-destructive art where the artist has a tight control over the nature and timing of the disintegrative process, and there are other forms where the artist’s control is slight.

Materials and techniques used in creating auto-destructive art include: Acid, Adhesives, Ballistics, Canvas, Clay, Combustion, Compression, Concrete, Corrosion, Cybernetics, Drop, Elasticity, Electricity, Electrolysis, Feed-Back, Glass, Heat, Human Energy, Ice, Jet, Light, Load, Mass-production, Metal, Motion Picture, Natural Forces, Nuclear Energy, Paint, Paper, Photography, Plaster, Plastics, Pressure, Radiation, Sand, Solar Energy, Sound, Steam, Stress, Terra-cotta, Vibration, Water, Welding, Wire, Wood.

Each visible fact absolutely expresses its reality.

Certain machine produced forms are the most perfect forms of our period.

In the evenings some of the finest works of art produced now are dumped on the streets of Soho.

Auto creative art is art of change, growth movement.

Auto-destructive art and auto creative art aim at the integration of art with the advances of science and technology. The immediate objective is the creation, with the aid of computers, of works of art whose movements are programmed and include “self-regulation”. The spectator, by means of electronic devices can have a direct bearing on the action of these works.

Auto-destructive art is an attack on capitalist values and the drive to nuclear annihilation.

Yellow Manifesto, Salvador Dalí and others.

1928

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We have eliminated from this MANIFESTO all courtesy in our attitude. It is useless to attempt any discussion with the representatives of present-day Catalan culture, which is artistically negative although efficient in other respects.

Compromise and correctness lead to deliquescent and lamentable states of confusion of all values, to the most unbreatheable spiritual atmospheres, to the most pernicious of influences. An example: La Nova Revista. Violent hostility, in contrast, clearly locates values and positions and creates a hygienic state of mind.

WE HAVE ELIMINATED WE HAVE ELIMINATED WE HAVE ELIMINATED WE HAVE ELIMINATED

all reasoning all literature all poetry all philosophy in favour of our ideas

There exists an enormous bibliography and all effort of this artists of today to replace all this.

WE CONFINE OURSELVES

WE CONFINE OURSELVES

to the most objective listing of facts to pointing out the grotesque and extremely sad spectacle of the Catalan intelligentsia of today, shut in a blocked and putrefied atmosphere.

WE WARN

to those still uncontaminated of the risk of infection.

A matter of strict spiritual asepsis.

WE KNOW

that we are not going to say anything new. We are certain, however, that it is the basis of everything new that now exists and everything new that could possibly be created.

in a new era, of unforeseen poetic intensity.

WE LIVE MECHANIZATION

has revolutionized the world.

MECHANIZATION - the antithesis of circumstantially indispensable

futurism- has established the most profound change humanity has known.

A MULTITUDE

anonymous – and anti-artistic – is collaborating with its daily endeavors towards the affirmation of the new era, while still living in accordance with its own period.

A POST-MACHINIST STATE OF MIND HAS BEEN FORMED

ARTISTS

of today have created a new art in accordance with this state of mind. In accordance with their era.

HERE, HOWEVER, PEOPLE GO ON VEGETATING IDYLLICALY

THE CULTURE of present-day Catalonia is useless for the joy of our era.

Nothing is more dangerous, more false or more adulterating.

WE ASK CATALAN INTELLECTUALS: ‘What use has the Bernat Metge Foundation been to you, if you end up confusing Ancient Greece with pseudo-classical ballerinas?’

WE DECLARE

WE GO ON TO ADD

that sportsmen are nearer the spirit of Greece than our intellectuals. that sportsman, free from artistic notions and all erudition is nearer and more suited to experience the art of today and the poetry of today than myopic intellectuals, burdened by negative training.

FOR US

Greece continues in the numerical precision of an aero plane engine, in the anti-artistic, anonymously manu factured English fabric meant for golf, in the naked performer of the American music-hall.

Yellow Manifesto, Salvador Dalí and others.

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WE NOTE

WE NOTE

IN CONTRAST

that the theater has ceased to exists for some people and almost for everybody. that everyday concerts, lectures and shows taking place among us now, tend to be synonymous with unbreathable, crushingly boring places. new events, of intense joy and cheerfulness, demand attention of youth of today.

THERE IS

THERE ARE

THERE IS

THERE ARE

THERE ARE

THERE ARE

THERE IS

THERE IS

THERE IS

THERE IS

THERE ARE

TEHRE ARE

THERE IS

THERE ARE

THERE IS

THERE ARE

THERE IS

THERE IS

THERE IS

THERE ARE

THERE ARE

THERE IS

THERE IS

THERE ARE

THERE IS

the cinema stadia, boxing, rugby, tennis and a thousand other sports the popular music of today: jazz and modern dance motor and aeronautics shows beach games beauty competitions in the open air the fashion show the naked performer under electric lights of music-hall modern music the motor-racing track art exhibitions of modern artists moreover, great engineering and some magnificent ocean liners the architecture of today implements, objects and furniture of the present era modern literature modern poets modern theatre the gramophone, which is a little machine the camera, which is another little machine newspapers with extremely quick and vast information encyclopedias of extraordinary erudition science in great action well-documented, guiding criticism etc., etc., etc., finally, an immobile ear over small puff of smoke.

WE DENOUNCE

WE DENOUNCE

WE DENOUNCE

WE DENOUNCE

WE DENOUNCE

WE DENOUNCE

the sentimental influence of Guimerà’s racial clichés the sickly sentimentality served up by the Orfeó Català, with its shabbly and adulterated by people with no capacity whatsoever for music, and even, of original compositions. (We think optimistically of the choir of American Revelers.) the total lack of youth in our youth the total lack of decision and audacity the fear of new events, of words, of the risk of the ridiculous the torpor of the putrid atmosphere of clubs and egos mingled with art

FINALLY, WE DEDICATE OURSELVES TO THE GREAT ARTISTS OF TODAY, within the most diverse tendencies and categories: PICASSO, GRIS, OZENFANT, CHIRICO, JOAN MIRÓ, LIPPCHITZ, BRANCUSI, ARP, LE CORBUSIER, REVERDY, TRISTAN TZARA, PAUL ÉLUARD, LOUIS ARAGON, ROBERT DESNOS, JEAN COCTEAU, GARCÍA LORCA, STRAVINSKY, MARITAIN, RAYNAL, ZERVOS, ANDRÉ BRETON, ETC., ETC.,

1928

Futurism Synthesis of War, F.T. Marinetti and others.

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1914

The ____________ Manifesto, Michael Betancourt.

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Today, ____________ itself is obsolete. In documenting art on the basis of ____________: we are human and true for the sake of ____________, ____________, and ____________. At the crossroads of the lights, alert, attentively awaiting ____________ .

If you find it futile and don't want to waste your time on a ____________ that means nothing, consider that here we cast ____________ on fertile ground. Here we have a right to do some prospecting, for we have ____________.

We are ghosts drunk on energy, we dig into ____________.

We are a ____________ as tropically abundant as ____________, which is the art of making ____________ established as ____________ on a canvas before our eyes,yet today the striving for ____________ in a work of art seems ____________ to art. Art is a ____________ concept, exalted as ____________, inexplicable as life, indefinable and ____________. The work of art comes into being through the ____________ of the elements.

The medium is as ____________ as the artist. Essential only is the forming, and because the medium is ____________, any ____________ whatsoever will ____________. ____________ is the name for such art. ____________ stands for freedom ____________ changes meaning with the change in the insight of those who view it. Every artist must be allowed to mold a picture out of ____________. The ____________ of natural elements is ____________ to a work of art. Instead, it is the artist who ____________ to produce ____________, in order to make a better art.

1996

Non-concrete Manifesto, Ferreira Gullar and others.

The term neo-concrete is a position in the face of non-figurative art "geometric" (Neo, Constructivism, Supre-matism, University of Ulm) and particularly in the face of art concrete led to a dangerous exacerbation rationalist. Working in painting, sculpture, printmaking and literature, artists participating in this exhibition I Neoconcrete met by virtue of their experience in reviewing contingency theoretical positions adopted so far in the face of con-crete art, since none of them "understand" satisfactorily the expressive possibilities opened by these experiences.

Born with Cubism, a reaction to impressionist dissolves the pictorial language was natural geometric said that art is put in direct opposition to the facilities painting tech-niques and allusive power. The new achievements of physics and mechanics, opening a broad perspective to objective thinking, encouraging, we continue this revolution, the trend toward increasing rationalization of processes and purposes of painting. A notion mechanical construction invade the language of painters and sculptors, creating, in time, equally extremist reactions, such as retrograde char-acter or magical realism irrationalist as Dada and Surreal-ism. No doubt, however, that behind his theories that con-secrated the objectivity of science and precision mechan-ics, the true artists - As is the case, for instance, Mondrian or Pevsner - and built his work, body to body with the expression, exceeded many times, the limits imposed by the theory. But the work of these artists have been inter-preted on the basis of theoretical principles, denied that the work itself.

We propose a reinterpretation of Neo, constructivism and other movements related, based on their achievements expression rather than to work on the theory. If we want to understand painting by Mondrian's theories, we would have to between the two. Either the prophecy of a total integration of art in everyday life seems to us pos-sible and see the work of Mondrian the first steps in this direction or that the integration seems increasingly remote and his work shows us is frustrated.

Either the vertical and horizontal are really the fundamental rhythms of the universe and Mondrian's work is the application of this principle or universal principle is flawed and his work is founded on an illusion. But the truth is that the work of Mondrian, alive and fruitful, of such theoretical contradictions. Anything in Mondrian will see in the destructor of the surface from the plane and line, if you do not pay attention to the new space built this destruction.The same can be said of Vantongerloo and Pevsner. No matter which mathematical equations are at the root of a sculpture or a picture of Vantongerloo, since only the experience direct perception of the work delivered “meaning” of his rhythms and colors. If Pevsner left or figures of descriptive geometry is a matter of no interest in the face of the new space that his sculptures are born and the expression of cosmic-organic, through him, reveal its forms. Will determine the specific cultural similarities between the art objects and scientific instruments, includ-ing the artist’s intuition and objective thinking physicist and engineer. But the aesthetic point of view, the work begins to interest precisely so that it transcends these approaches is outside: the universe of meanings existential she reveals a deep and long.

Malevich, for recognizing the primacy of “pure sensibility in art,” saved their theoretical definitions of the limita-tions of rationalism and mechanism, giving his paintings a transcendent dimension which guarantees an outstanding day today. But Malevich paid dearly the courage to oppose both the mechanistic figuration and abstraction, have been con-sidered to this day by some theorists rationalists, a naive Horn had not understood and the true meaning of new plas-tic. In fact, Malevich has expressed, in painting “Geomet-ric” a dissatisfaction, a desire to transcend the rational and the sensory today manifests itself irrepressible.

The neo-concrete, born of a need to express the complex reality of man modern language within the new structural plastic, denies the validity of the scientistic attitudes and positivist in art and restores expression of the prob-lem, incorporating new dimensions “Verbal” created by the constructive non-figurative art. Rationalism robs art of the autonomy and replaces the unique qualities of the art-work by notions of objectivity science: thus the concepts of form, space, time and structure - that the language arts are linked to an existential meaning, emotional, affective - are confused with the theoretical science that makes them. In fact, on behalf of prejudice today denounces phi-losophy (M. Merleau-Ponty, E. Cassirer, S. Langer) - and crumble in all fields, starting with the biology modern Pavlovian mechanism that overcomes - the concrete rational-ists still see the man machines as a machine between the art and seek to limit the expression of this theoretical reality.

Not conceive of a work of art as “machine” or “object” but as a quasi-corpus, ie, a being whose reality is not exhausted in the foreign relations of its elements, a unless, decomposable into parts for analysis, can only be fully the direct approach, phenomenological. Believe that a work of art surpasses the material on which mechanism rests, not by some unearthly reason: it surpasses it by transcending these mechanical relationships (The aim of Gestalt) and create for itself a tacit meaning (M. Pority) it emerges that the first time. If we had to get a simile for the artwork, we could not find, therefore, neither the machine nor the objectively perceived object, but as

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1959

S. Lanois and W. Wleidlé in living organisms. This comparison, however, still not enough to express fact-specific, body aesthetic.

Because the artwork is not limited to occupy a place in the objective space - but transcends it found a new meaning - that the objective notions of time, space, form, structure, color, etc. are not sufficient to understand the work of art to realize its "reality." The difficulty of a precise terminology to express a world that does not yield to notions art criticism led to the indiscriminate use of words that betray the complexity of the work created.

The influence of technology and science is also present, to the point today, reversing roles, certain artists, overshadowed by this terminology, try to make these art pieces objective notions to apply them as a creative method. Inevitably, the artists who so proceed only illustrate a priori notions, which are limited by a method that has them prescribe in advance the outcome of the work. Thieving is the spontane-ous creation, intuitive, reducing the objective body in an objective space, the artist concrete rationalist, with their frames, only you and asks the viewer to stimulate a reaction and reflection: it speaks to the eye as instrument and do not look like a human way of having the world and give him, speaks to the eye- machine and not the eye-body.

Because the work of art transcends the mechanical space that in it the notions of cause and effect lose any validi-ty, and the notions of time, space, form, color are so integrated - by the very fact that no pre-existed, as notions, the work - it would be impossible to speak of them terms as decomposable. Neo-concrete art affirms the abso-lute integration of these components, believes that the vocabulary "geometric" that it uses can the expression of complex human realities, as proved by many of the works of Mondrian, Malevich, Pevsner, Gabo, Sofia etc.

Taueber-Arp. Even though these artists at times confused the concept of so-so with the mechanical-expression, we must clarify that the language of art, the forms said geometric lose the objective character of the geometry to make vehicles for the imagination.

Gestalt, is still a causal psychology, is also insufficient to make us understand this phenomenon which dissolves space and shape horn realities causally determinable and give them as long - as the spatial distri-bution of work. We understand that spatial work of the fact that she is always doing this, is always starting the momentum that generated it and that it was already the origin. And if this description also refers to the experience in first - full - the real, is that the neo-concrete art is not intended nothing less than rekindling the expe-rience. Neo-concrete art founded a new “space” expressive.

This position is equally valid for that denounced neo-con-crete poetry, concrete poetry, the same mechanistic objec-tivism painting.

Concrete poets rationalists also put as their ideal the imitation of the machine. Even for them the space and time are no longer between words that foreign-ob-ject. Well, if so, the page is reduced to one space word graph and an element of that space. Like painting, the visual is reduced to the optical and the poem does not exceed the size graphics. Neo-concrete poetry rejects such notions spurious and true the nature of language, says the poem as a temporal being. In time and not in space of words becomes a complex nature and significance.

The neo-page poetry is the spatial distribution of tense: it is a pause, silence, time. There is, of course, back the concept of time discursive poetry, because while this language flows in succession, neo-language poetry opens in duration. Therefore, unlike the concretism rationalist, who takes the word as a mere object and transforms optical signal, the neo-concrete poetry returns it to its status as “verb”, that is, in a humane manner of presentation the real. In neo-language poetry does not run: hard.In turn, the neo-prose, opening a new field for experiments expressive retrieves the language to flow, surpassing its syntactic contingencies and giving a sense new, broader solutions to certain mistakenly taken so far as poetry. And so, in painting as in poetry, in prose as in sculpture and printmaking, art neo reaffirms the independence of artistic creation in the face of practical knowledge (moral, poli-tics, industry etc.).

The participants of this exhibition I Neoconcrete not con-stitute a “group”. Do not connect dogmatic principles. The apparent affinity of the research conducted in the various fields came and brought them together here. The commitment that binds them, hold them each in first experience, and they will be together for the duration of the deep affinity that approached.

Amilcar de Castro, Ferreira Gullar, Franz Weissmann, Lygia Clark, Lygia Pape, Reynaldo Garden, Theon Spanudis.

Toward an Anchitecture, Le Corbusier.

Argument Aesthetic of the engineer Architecture Aesthetic of the engineer, Architecture: two things firmly allied, sequential, the one in full flower, the other in painful regression.

The engineer, inspired by the law of Economy and guided by calculations, puts us in accord with universal laws. He attains harmony.

The architect, through the ordonnance of forms, realizes an order that is a pure creation of his mind; through forms, he affects our senses intensely, provoking plastic emotions, through the relationships that he creates, he stirs in us deep resonances, he gives us the measure of an order that we sense to be in accord with that of the world, he determines the diverse movements of our minds and our hearts, it is then that we experience beauty.

Three reminders to architects: Volume Our eyes are made for seeing forms in light.

Primary forms are beautiful forms because they are clearly legible.

The architects of today no longer make simple forms.

Relying on calculations, engineers use geometric forms, satisfying our eyes through geometry and our minds through mathematics; their works are on the way to great art.

Surface A volume is enveloped by a surface, that is divided according to the generators and the directing vectors of the volume, accentuating the individuality of this volume.

Architects today are afraid of the geometric constituents of surfaces.

The great problems of modern construction will be solved through geometry.

Under strict obligation to an imperative programme, engineers use the directing vectors and accentuators of forms. They create limpid and impressive plastic facts.

Plan The plan is generator.

Without a plan, there is disorder, arbitrariness.

The plan carries within in the essence of sensation.

The great problems of tomorrow, dictated by collective needs, pose the question of plan anew.

Modern life demands, awaits a new plan for the house and for the city.

Regulating lines Of the fateful birth of architecture The obligation to order. The regulating line is a guarantee against arbitrariness. It brings satisfaction to the mind.

The regulating line is the means; it is not a formula. It choices and its expressive modalities are integral parts of architectural creations.

Eyes that do not see Liners A great era has just begun.

There exists a new spirit.

There exists a host of works in this new spirit, they are encountered above all in industrial production.

Architecture suffocates in routine.

The ‘styles’ are a lie. Style is a unit of principles that animates all the works of an era and results from a distinctive state of mind.

Our era fixes its style every day.

Our eyes, unfortunately, are not yet able to discern it.

Airplanes The airplane is a product of high selection.

The lesson of the airplane is in the logical governed the statement of the problem and its realization.

The problem of the house has not been posed.

Current architectural things do not answer our needs.

Yet there are standards for the dwelling.

The mechanical carries within it the economic factor that selects.

The house is a machine for living in.

Automobiles We must see to the establishment of standards so we can face up to the problem of perfection.

The phenomenon is a problem of selection applied to an standard.

Architecture works on standards.

Standards are a matter of logic; of analysis, of scrupulous study; they are based on a problem well posed. Experimentation fixes the standard definitely.

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Toward an Anchitecture, Le Corbusier.

Architecture The Lesson of Rome Architecture is the use of raw materials to establish stirring relationships.

Architecture goes beyond utilitarian things.

Architecture is a plastic thing.

Spirit of order, unity of intention.

The sense of relationship; architecture organizes quantities.

Passion can make drama out of inert stone.

The illusion of the plan The plan proceeds from the inside out; the exterior is the result of an interior.

The elements of architecture are light and shadow, walls and space.

Ordonnance is the hierarchy of goes, the classification of intentions.

Man sees architectural things with eyes that are 1 meter 70 from the ground.

We can reckon only with goals accessible to the eye, with intentions that take the elements of architecture into account. If we reckon with intentions that do not belong to the language of architecture, we end up with an illusory plan; we break the rules of the plan through faulty conception or a penchant for vain things.

Pure creation of mind Contour modulation is the touchstone of the architect.

The latter reveals himself as artist or mere engineer.

Contour modulation is free of all constraint.

It is no longer a question of routine, nor of traditions, nor of construction methods, nor of adaptation to utilitarian needs.

Contour modulation is a pure creation of the mind; it calls for the plastic artist.

Mass-Production housing A great era has just begun.

There exists a new spirit.

Industry, invading like a river that rolls to its destiny, brings us new tools adapted to this new era animated by a new spirit.

The law of Economy necessarily governs our actions and our conceptions.

The problem of the house is a problem of our era. Social equilibrium depends on it today. The first obligation of architecture in an era of renewal, is to bring about a revision of values, a revision of the constitutive elements of the house.

Mass-production is based on analysis and experimentation.

Heavy industry should turn its attention to building and standardize the elements of the house.

We must create a mass production state of mind.

A state of mind for building mass-production housing.

A state of mind for living in a mass-production housing.

A state of mind for conceiving mass-production housing.

If we wrest from our hearts and minds static conceptions of the house and envision the question from a critical and objective point of view, we will come to the house-tool, the mass-production house is healthy (morally, too) and beautiful from the aesthetic of the work tools that go with our existence.

Beautiful too from all the life that the artistic sense can bring to strict and pure organs.

Architecture or Revolution In every domain of industry, new problems have been posed and tools capable of solving them have been created. If we set this fact against the past, there is revolution. In building, the factory production of standardized parts has begun; on the basis of the new economic necessities, part elements and ensemble elements have been created; conclusive realizations have been achieved in parts and in ensembles. If we set ourselves against the past, there is revolution in the methods and the magnitude of enterprises.

Whereas the history of architecture evolves slowly over the centuries in terms of structure and dĂŠcor, in the last fifty years iron and cement have brought gains that are the index of an architecture whose code is in upheaval. If we set ourselves against the past, we determine that the styles no longer exist for us, that the style of an era has been elaborated; there has been a revolution.

Consciously or unconsciously, minds have become aware of these events; consciously or unconsciously, needs are born.

The social mechanism, deeply disturbed, oscillates between improvements of historical importance and catastrophe.

In this primal instinct of every living thing to secure a shelter. The various working classes of society no longer have suitable shelter, neither labourers nor intellectuals. It is a question of building that is key to the equilibrium upset today: architecture or revolution.

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