Neo-Baroque

Divided into two parts, this essay intends to make, in the first one, the state of the art of Portuguese Neo-Baroque Sculpture, through the bibliographic investigation already carried out. The second part is dedicated to the analysis of works of art and sculptors identified as belonging to this sculptural production, situated between the French eighteenth-century academic tradition and modern twentieth-century synthesis.

In 1938, the Federal Trade Commission (FTC) took on the role of national legal organologist in deciding whether the Hammond Clock Company could fairly use the word “organ” to brand the Hammond Organ, although the FTC acknowledged it as a “musical instrument.” Through a close examination of FTC Docket No. 2930, I argue that organs served as an initial battleground over the ontology of electronic instruments. Organs were already the musical prototype of choice for the application of electricity, with electro-pneumatic action developed in the mid-nineteenth century to lighten the keyboard as the instrument outgrew human capacity to play it. Yet organhood hinged not on the electrification of keyboards, stops, or even wind production, but on the substitution of tone generators for pipes, electricity for material sound generation. The defense’s evidence included a blind listening test between the University of Chicago’s famed E.M. Skinner organ and a Hammond, in which musicians were unable to distinguish between them—the organist’s deliberately unorthodox stop combinations made the Skinner sound electronic, revealing the dependence of the pipe organ’s sonic authenticity on conventional constructions of sound. John Hammond’s attorney portrayed him as an ingenious American inventor and small business owner bringing affordable organs to the public, hoping to outweigh the philosophical classification of electric instruments with the folksy authenticity of democracy.

Trial exhibits of Hammond’s illustrated advertisements show Hammonds played effortlessly by women in churches and funeral homes; yet this instrument would make its way from houses of worship and of the dead to houses of jazz and funk, from illustrated white women to iconic black men. The Hammond’s slippery definition would ultimately enter a postwar feedback loop between pipe organs and synthesizers, leading to an asymptotic convergence of electronic and acoustic designs precisely when Americans were certain that their new “neo-baroque” organs were historically authentic at last.

Baroquemania explores the intersections of art, architecture and criticism to show how reimagining the Baroque helped craft a distinctively Italian approach to modern art. Offering a bold reassessment of post-unification visual culture, the book examines a wide variety of media and ideologically charged discourses on the Baroque, both inside and outside the academy. Key episodes in the modern afterlife of the Baroque are addressed, notably the Decadentist interpretation of Gianlorenzo Bernini, the 1911 universal fairs in Turin and Rome, Roberto Longhi's historically grounded view of Futurism, architectural projects in Fascist Rome and the interwar reception of Adolfo Wildt and Lucio Fontana's sculpture. Featuring a wealth of visual materials, Baroquemania offers a fresh look at a central aspect of Italy's modern art.

https://manchesteruniversitypress.co.uk/9781526153173/baroquemania/

Women, mostly young and elegant and often merged with nature, are everywhere in art nouveau: from commercial poster girls to allegorical figures, from conservative role models to icons of feminism—but rarely women of flesh and blood. The female artists who were able to stand their ground in the male-dominated world of art nouveau also used allegorical female figures.
The fin de siècle was a period of incis ive  change: urbanisation, the rise of mass consump tion and advertising, industrialisation, the class struggle, the women’s movement, the large-scale distribution of print. Artists and designers went in search of new forms; the new art, art nouveau, became popular throughout Europe as it was distributed through magazines and posters, but also through the world expositions which presented the latest applied art for the modern bourgeoisie to embellish their lives with.
Goddesses of Art Nouveau sheds new light on an extraordinary era and on the question as to how the image of woman was used in paintings, spectacular jewellery, the Rolls-Royce mascot, advertising posters and book covers, made by women and men. The book also contains a selection of the most striking art-nouveau objects from the collections of the  Allard Pierson in Amsterdam, the Badisches Landesmuseum Karlsruhe, and the Braunschweigisches Landesmuseum Braunschweig.

Holy Motors has been ascribed with multiple interpretations. Speculation about the meaning behind the film has emerged since its debut at the Cannes film festival, 2012. These revolve around the baffling storyline and the context technology holds in, not just cinema but, contemporary society. By shifting from genre to genre, Carax purposefully tries to confuse his audience: the French director protects his film from distinct definition with what appears to be a lack of narrative and, instead, creates a highly allegorical and illusory film. This seemingly irrelevant sequence is what makes the film so captivating and has scholars trying to dissect its illusive meaning.
The film won twenty-eight awards and gained sixty-seven nominations. Protagonist, and long-time collaborator of the director, Denis Lavant won four awards for ‘Best Actor’. At the Chicago International Film Festival, he won the award ‘for breathing life into a character who is alternately tragic, hilarious, shocking, profound, hideous, beautiful, wise - but always human - and, quite simply, unlike anything we've ever seen before’. The film can be interpreted in many different ways, but these facts cannot be repudiated. So, how did the tarnished director thwart early criticism with this ‘Island of Cinema’?
The inquisitive viewer might find Holy Motors leaves them questioning existence and the future of technology as machines are replaced just as much as people. In addition, the art of cinema is enveloped in this illustration of cinematography. Whether it provokes philosophical contemplation or not, the film is an extension of the cinematic universe, according to Carax. In essence, this dissertation seeks to broaden, as well as provide sufficient evidence to support, interpretation.

Paradiso als Pardes untersucht in einer vergleichenden und interdisziplinären Studie die Zusammenhänge zwischen historischer Entwicklung, Kulturgenerierung und Sprachschöpfung in zwei Textkorpora: im Werk José Lezama Limas und der jüdischen Mystik. Beide werden als allumfassende und radikale Schöpfungstheorien gelesen, als Denksysteme, in denen Sprachschöpfung und Weltschöpfung gleichzeitig und als gleichzeitig gedacht werden.
Diese Studie, welche das Interesse des kubanischen Schriftstellers für die Kabbala und die Affinitäten zwischen den Werken herausarbeitet, deckt die dem Werk innewohnende Dialektik von Säkularisierung und Sakralisierung auf und ermöglicht damit sowohl einen neuen Zugang zur rätselhaften Schrift Lezama Limas als auch zur vieldiskutierten Schnittstelle zwischen Kabbala und Literaturtheorie.

A partir del ensayo "Las comidas profundas" de Antonio José Ponte, la autora reflexiona sobre las carencias y vivencias del exilio e "insilio" cubanos imaginando un diálogo entre el Apátrida y el Famélico, personajes que simbolizan esos dos polos, hermanados por un acervo histórico, gastronómico y literario común

Resumen: objetivo/contexto: el texto se propone desarrollar y comparar las nociones filosófico-antropológicas de perspectivismo, canibalismo y metamorfosis, presentes en Metafísicas caníbales, del antropólogo Eduardo Viveiros de Castro, y en diversos ensayos y novelas del poeta-ensayista Severo Sarduy. Ambos describen universos habitados por cuerpos y afectos, en los que un único plano de inmanencia se pliega (Deleuze) multiplicando las perspectivas. El cruce intertextual apunta a revisar en modo crítico las categorías binarias del pensar, sentar las bases para la formulación de un método neobarroco de lectura/reescritura y proponer una cosmopolítica como entramado afectivo de humanos, no humanos, artefactos y cosas. Metodología: los textos han sido abordados desde una hermenéutica de la inmanencia, material y productiva. Conclusiones: la noción de perspectivismo amerindio de Viveiros de Castro es consistente con la diseminación de puntos de vista de Sarduy. En ambos planteos, los planos se yuxtaponen y entrecruzan sin centro rector (neobarroco); también desaparece la figura de un punto de vista neutral y exterior a las tramas respectivas. En el canibalismo amerindio, la división en el interior del yo se realiza por la absorción del otro en un ritual de devoramiento; en la antropofagia literaria, la destitución se da por la potencia de una trama narrativa que se traga al autor y lo convierte en un personaje más. En un caso, es el cuerpo enemigo el devorado para tragar su posición relativa y fisurar el yo en su unidad; en el otro, es el cuerpo textual el que absorbe y divide. Ambos posicionamientos derivan en una cosmopolítica: transformaciones narrativas intersocietarias. Originalidad: la originalidad de este trabajo estriba en la aplicación del método de contrapunteado, inspirado en el escritor cubano José Lezama Lima, cuya aplicación permite la emergencia de diferencias y similitudes en textos que contrastan entre sí por su origen y registro.

Palabras clave: canibalismo, Eduardo Viveiros de Castro, metamorfosis, neobarroco, perspectivismo, Severo Sarduy.

Amerindian Perspectivism, Cannibalism and Metamorphosis in Eduardo Viveiros de Castro and Severo Sarduy: Towards a Cosmopolitics of Neo-Baroque and Latin American Immanence

Abstract: Objective/context: The purpose of this text is to develop and compare the philosophical-anthropological notions of perspectivism, cannibalism and metamorphosis in Cannibal Metaphysics, by the anthropologist Eduardo Viveiros de Castro, and in various essays and novels by the poet-essayist Severo Sarduy. Both describe universes inhabited by bodies and affections, in which a single plane of immanence folds (Deleuze) multiplying perspectives. The intertextual crossing has the following objectives: to critically review the binary categories of thinking; to formulate a neo-baroque reading / rewriting method; and to propose a cosmopolitics as an affective framework of humans, non-humans, artifacts and things. Methodology: The texts have been approached from a material and productive hermeneutic of immanence. Conclusions: The notion of Amerindian perspectivism of Viveiros de Castro is consistent with the dissemination of the views of Sarduy. In both approaches, the planes are juxtaposed and cross-linked without a guiding center (neo-baroque); the figure of a neutral point of view disappears. In Amerindian cannibalism, the division within the self is realized by the absorption of the other in a ritual of devouring. In the literary anthropophagy, the destitution is given by the power of a narrative plot that swallows the author and turns him into a character. In one case, it is the enemy’s body that is devoured to swallow its relative position and fissure the ego in its unity; in the other, it is the textual body that absorbs and divides. Both positions derive in a cosmopolitics: intersocietary narrative transformations. Originality: The originality of this work lies in the application of the counterpoint method, inspired by the Cuban writer José Lezama Lima. Said method allows the emergence of differences and similarities in texts that contrast each other given their origin and register.

Keywords: Cannibalism, Eduardo Viveiros de Castro, metamorphosis, Neo-baroque, perspectivism, Severo Sarduy.

Perspectivismo ameríndio, canibalismo e metamorfose em Eduardo Viveiros de Castro e Severo Sarduy: por uma cosmopolítica da imanência neobarroca e latino-americana

Resumo: objetivo/contexto: o texto tem como objetivo desenvolver e comparar as noções filosófico-antropológicas de perspectivismo, canibalismo e metamorfose, presentes na Metafísicas Canibais, do antropólogo Eduardo Viveiros de Castro, e em diversos ensaios e romances do poeta-ensaísta Severo Sarduy. Ambos descrevem universos habitados por corpos e afetos, nos quais um único plano de imanência se dobra (Deleuze) multiplicando as perspectivas. A travessia intertextual visa revisar criticamente as categorias binárias do pensar, lançar as bases para a formulação de um método neobarroco de leitura/reescrita e propor uma cosmopolítica como estrutura afetiva de humanos, não-humanos, artefatos e coisas. Metodologia: os textos foram abordados a partir de uma hermenêutica de imanência, material e produtiva. Conclusões: a noção de perspectivismo ameríndio de Viveiros de Castro é consistente com a disseminação dos pontos de vista de Sarduy. Nas duas abordagens, os planos se convergem sem um centro guia (neobarroco). Também desaparece a figura de um ponto de vista neutro e externo para as respectivas tramas. No canibalismo ameríndio, a divisão no interior do eu é realizada pela absorção do outro em um ritual de devoção. Na antropofagia literária, a destituição é dada pela potência de uma trama narrativa que engole o autor e faz dele um personagem. Em um caso, o corpo inimigo que é devorado para engolir sua posição relativa e fissurar o eu em sua unidade, no outro, o corpo textual é o que absorve e divide. Ambas as posições derivam de uma cosmopolítica: transformações narrativas intersocietárias. Originalidade: a originalidade deste trabalho reside na aplicação do método de contraponto, inspirado no escritor cubano José Lezama Lima, cuja aplicação permite o surgimento de diferenças e semelhanças nos textos que contrastam entre si por sua origem e registro.

Palavras-chave: canibalismo, Eduardo Viveiros de Castro, metamorfose, neobarroco, perspectivismo, Severo Sarduy.

A Bordighera (Italie), la mer et l’antique palmeraie au bord desquelles Charles Garnier conçu sa villa ont favorisé la mise en œuvre de sa référence architecturale orientaliste et l’accueil des amis dans un ensemble féerique pourvu de jardins et d’un hammam privé. La villa s'ouvre avec le buste de Garnier par Jean-Baptiste Carpeaux qui représente la fierté de l'architecte de l'Opéra avec  énergie.

Television – like the other media it competes with – is a dynamic form that has had to redefine itself in the midst of intense competition since the 1980s. This essay argues that the television series has become more excessively serial-like. Economics has given rise to new aesthetics and to new formal patterns – evident, in this instance, in the shape of serial narrative formations. Reflecting the multicentered rationale of the economic infrastructure that supports it, narrative ‘meaning’ becomes increasingly reliant upon an audience that is capable of traversing multiple ‘texts’ in order to give coherence to an independent episode within a series. As Omar Calabrese explains, the result is a neo-baroque ‘polycentric’, open structure

Si Georges Delerue n’a pas été le seul compositeur à s’essayer à des pastiches néo-baroques et si ce type d’écriture ne représente qu’une petite partie de ses trois cents musiques de longs-métrages, il semble bien que le nom du compositeur soit tout particulièrement rester lié à l’utilisation de ce langage. Nous avons pu mettre en évidence que Delerue a recours à une rhétorique baroque dans trois types particuliers de contextes dramatiques : les situations de complots et crimes, la célébration d’une instance supérieure et ce que nous avons appelé les « marches inexorables du destin ». Nous verrons qu’à l’intérieur de chacune de ces situations, la musique de Delerue ne se limite jamais à un seul usage : en plus des traditionnels rôles rythmique et dynamique dévolus à nombre de musiques de film, le langage baroque ou néo-baroque assure, au contact de l’image et du récit, des fonctions à la fois didactiques et symboliques.

In performance research today, as in the 1960s, the pressing question is: how to do things with systems. I return to the grid to attend both sites and modes of cultural practices (techniques and technologies) that so powerfully harness and transform the control society.  As seeing machine, the grid’s story includes linear perspective, geometricization, and fugitivity. Defined by consistency and contradition, by optics, haptics, and cybernetics, I identify grid logics with the neo-baroque. Exploring the grid through tiling, weaving, seafaring, and curating techniques that link the administrative and the algorithmic state, I discuss the arts of two architectural sites in the port cities of Cartagena, Colombia and Singapore.

"Kubrick et Deleuze ?", ou quelques pages pour le projet  qui se continue "Les Notes sur Le Brave Nouveau Broque Monde" est une méditation sur le cinéma de Stanley Kubrick, dans le meme contexte avec des regards deleuziens; en se concentrant sur l'oeuvre non-existant de Kubrick: Aryan Papers

En "Aura: arquitecturas del desorden" ensayo una lectura creativa de una
obra temprana de Carlos Fuentes, Aura (1962), a la luz del discurso crítico
ofrecido por sus primeras obras teóricas. Carlos Fuentes, como tantos otros autores fundacionales del boom latinoamericano, pertenece a una tradición de escritores que articularon la poética que subyace a sus propios textos, ofreciendo así otro camino alternativo de acceso a sus ficciones. Aura, la alucinada nouvelle de lo íntimo y lo sobrenatural, se enriquece desde las ideas propuestas en el opúsculo teórico La nueva novela hispanoamericana (1969). La aspiración revolucionara expresada en este texto se cifra en una visión Bakhtiniana, dialógica, del lenguaje literario. Esta atomización lingüística refleja la exploración de un desorden más profundo: el del espacio y el tiempo. Algunas de las preguntas aquí ensayadas arrojan luz sobre cuestiones más vastas del quehacer literario: tal como la relación entre teoría literaria y escritura creativa, entre filosofía y literatura, y por sobre todo, una cuestión central a la sensibilidad del Boom; la relación entre realidad, representación y lenguaje.

The Reptant Eagle: Essays on Carlos Fuentes and the Art of the Novel Ed. by Roberto Cantú - Cambridge Scholars Publishing, November, 2015

Video games can respond to Neo-baroque instincts regarding the construction of alternative identities that exceed the everyday existence of the postmodern social being. Taking Neo-baroque theories as a starting point, this article proposes an analysis of the social and fantasy components in multiplayer massive online role-playing games. To do so, the foundational titles of the MUD genre are taken as reference as they are the precedents of contemporary massive video games. Current titles are represented using World of Warcraft as main reference, due to its relevance as a genre-defining video game and its hugely popular fantasy world. In its synthetic world, as happens in similar games, the Neo-baroque presence is developed as part of the game-oriented system of contemporary society

Este ensayo problematiza, en primer lugar, las interpelaciones entre la “ficción autobiográfica” de Severo Sarduy y el “biografema” de Roland Barthes, como una modulación en la pregunta acerca de formas de la simulación y de cómo escribir la propia autobiografía con otros. En segundo lugar, analiza la obra Teoría del Cielo de Arturo Carrera y Teresa Arijón, cuando a través de la imagen del tokonoma revisan el legado de Lezama Lima y Sarduy, e inscriben su experimentación biografemática en la tradición neobarroca.

This essay problematizes, first, the interpellations between the concepts of “autobiographical fiction” from Severo Sarduy and “biografema” from Roland Barthes, as a modulation in the question of simulation and how to write the own autobiography with-others. Second, analyzes the work Theory of Heaven of Teresa Arijón and Arturo Carrera, when they review the heritage of Lezama Lima and Sarduy through the image of the tokonoma, and inscribe their  biografemátical experimentation in the neo-baroque tradition.

Em sua tríplice função de poeta, teórico e tradutor, Haroldo de Campos contribuiu com sua obra para uma abertura tanto do mundo literário ao Brasil quanto do Brasil literário ao mundo. Seguindo seus roteiros multifacetados, o objetivo da presente coletânea é discutir sua obra a partir de uma perspectiva interdisciplinar e internacional, enfatizando ainda as interações da poesia concreta – movimento iniciado simultaneamente no Brasil e nos países germanófonos na década de 1950 – com outras formas de arte. A aproximação aos diálogos transcriativos e transartísticos de Haroldo de Campos se realiza a partir de quatro roteiros temáticos: (1) roteiros transpoéticos, (2) roteiros de palavras e linguagens, (3) roteiros de viagens e memória e (4) roteiros transartísticos.

"O presente volume é uma homenagem à poesia. Poesia em um sentido
existencial: como forma de vida, de conhecimento. Poesia que vem do
espírito das vanguardas históricas internacionais e fala a partir do ofício poético do poeta brasileiro Haroldo de Campos." (do prefácio de Susanne Klengel)