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Some stories glacial
2.jpg "Triumph of Death" (or "The skeletons perform a dance "), Felix Nussbaum (1904-1944).
Writing a novel is easy, sentenced Jacques Sternberg (Belgium, 1923 - France, 2006), just write a few pages a day, but instead, to write short stories about 300 will take about 300 ideas, and ideas do not all the days. "Therefore, some stories in this book enacted in 1948 and another in 1973, "he concluded. In the translation of Eduardo Berti and postscript by Hervé Le Tellier was just published in Castilian the "Tales Glacial" of this master of short stories, of which we reproduce here a few pearls. Jacques Sternberg
The aim
6.jpg
"Selbstbildnis im Atelier," by Felix Nussbaum.
technicians unaware of the exact purpose of that machine guarding for more than six months.
only knew the plane of the machine, a plane whose complexity too complex assumed a target. They knew perfectly the work to be met. A simple task because the machine itself is built with admirable skill, just as he had built this huge workshop that was bolted, attached. It even said that she had designed the building plans. Was about to think that he had made itself the first to the last button.
At noon and evening, the machine feed the workers who came and went there to no avail. At times, gave them some advice. One day cured an injured worker. I often played music. Having a child born there, just in case the machine would have to knit. To all, what was not intended to provide a show? Or was, rather, persuading technicians who were busy working? When he was finally ready, is to rebuild self-destruct? why not ... It seemed to be self-sufficient.
latter is found when it was finished. After having spoken in his honor a keynote address, the machine gave herself a ten-year warranty and fire insurance.
had a hundred meters long and twenty high.
technicians observed it, and vainly wondered, once again, but with greater concern, which would be useful. The machine said that everything had come to an end and they could leave the premises. As they left, the machine began to lock their doors each. Was this your goal?
Left alone, tested various gestures. Said a few words. But all without conviction. Took some books, fantasized, is even recited a few verses. But all without conviction.
Soon frozen.
And then it started to get bored.
That was his true goal. Rattle
3.jpg "Soir. Platek Felka Selbstbildnis mit "Felix Nussbaum.
Me getting ready to open the tap when I heard the noise. It seemed to come from the bowels of the pipes. It was a kind of constant rattle, a cry that drew from life to death in slow motion. That lasted a moment. Then nothing.
finally opened the tap, sharply. And a stream of blood spattered the sink.
unthinkable
In that world in which the human mind could not distinguish the living from the inanimate or distinguish the elements constituting the ground, the men committed a gross lapse that cost the life of a crew.
Seduced by the dazzling orchestration plant that exploded in the midst of crystalline landscape, a plant biologist snapped a stunning color and placed in a glass of water.
That gesture was the cause of the incident.
plant was not what the biologist had just started. He was the head of the warriors of this world. Landing
4.jpg
Jacques Sternberg. Photo: DR
stralkos
When contacted for the first time in our world, landed in Africa, the bush, close to a Zulu village. They took notes, deduced general laws and customs, and a year later, invaded Earth in order to annex it.
makeup had been black, had anointed their bodies with abundant paintings and armed themselves with stones and arrows.
But this time, landed in the United States, including Boston and Chicago. The last car
By custom, always thought-accidents had risen to the penultimate wagon.
saw an empty compartment and, without hesitation, I moved there.
Soon I heard some squeaks announcing the game.
Only after a while I saw many passengers parade. I looked a little surprised because the train had not stopped since he left.
They opened the sliding door of my compartment, entered, I observed, I stupidly asked if there was room, if I were allowed to ... Some even wished me a request. A stamp, asked one of them. Or the key to a lost bag. Or a silver spoon that an old woman called me not without violence.
All, without exception, ended up asking me to apologize and then retreated to stumble under the weight of your bags get lost in the hallway, muttering that they preferred the last car, there must be some space available.
There was not any higher during the trip.
At about two o'clock, I went to the last car.
I crossed, on the road, with no passenger.
Already in the last car, I found none. It was all desert and the train continued his eventful nightlife, with such a din that made one think of empty casks. Return
One day, they returned to Earth.
taught us that we were not animals or pure souls, much less humans, but robots. Robots
flesh and blood as they had used these materials to make. We had modeled, incidentally, in his own image and likeness, but very quickly and roughly, without going into any detail. They were the only living beings on the planet. He had been abandoned and they left, long ago, in our hands. And, as they were lazy, we had devised clever, industrious, full of ambition and professionalism. For centuries, had been, without knowing it, the tenants of his land.
But now were back.
And there was a blank face recognition or indulgence. The weaver
I've never seen without her knitting needles. Weaving was his passion, his only concern. Even if a beam fell at the foot of her window, she would watch the fabric. But I knew his eyes. Green were admirable. Because Ylge was beautiful, strangely beautiful. Even more strange was the contrast between the beauty of Ylge and banality of this work she met with such perseverance.
I took six months to convince Ylge he left for a while the fabric and needles. Led her to the bed and undressed. In your head, between two strands of hair, I saw a small yarn. I pulled it. For an hour he pulled. Finally I realized I had unraveled to Ylge and now had in hand a huge ball of wool.
I left on a table. What else could have done?
thought
First
the bomb fell. Never
knew where it came from or who had thrown it, but it exploded quietly, without any explosion of light and without killing anyone.
Three hours later, at a certain moment, the thoughts became contagious in the world. Chain, like an epidemic gradually.
Just then, a man had considered suicide and thought had been more intense and powerful than others. Hundreds of men thought, immediately afterwards, the same thing. Then, thousands and millions. And all went together to the action.
Two days later, very quiet, beings from another planet arrived on Earth, they invaded and conquered without arms or fighting.
Castle 5.jpg
"Angst (Selbstbildnis mit seiner Nichte Marianne)" by Felix Nussbaum.
The lord lived alone and, as everybody knew, nobody ever had cleared the fence that limited the property.
was a high fence, admirably wrought iron, and gave a wide avenue lined with trees. In the midst of poplar could be an area of grass, a pond, a staircase and the facade of the castle, with its large windows always closed during the day, with its black curtains always drawn at night. Some huge trees
hiding the other sides of the castle.
As the master of the place, from time to time I could see it in the village, especially on Tuesdays. Until one day, do not see him anymore. Then
men first entered the castle and found the lord, lifeless, dead, no doubt due to natural causes, lying on a mattress that had spread directly on the ground. The parquet was made of planks disjointed, almost moldy, the walls were not very valuable. The lord lived, strictly speaking, a house of wood and tar, tiny, wet, covered only with a bunch of old bags, sewn together with others, a miserable warren in a muddy field behind the facade of a castle.
Because the castle, in truth, no one had seen anything but the facade for years: a plaster decorated solemnly planted in the vast park.
(From "Tales glacial." Publishing Company, Buenos Aires, 2010). Ranking
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THE
LITORAL.COM Citizen Journalism mail ago.
In all periods of art history has been a reflection of his time and a demonstration that we use to study the social and cultural behaviors, and in this sense, to understand Postmodernism and certify his death, we must understand in turn, the following evolutionary process: Modernism - Postmodernism - supermodernity, in its artistic, then take the model to the social and political scale. Also, I have to clarify, is more accurate to use the terms as proposed, instead of Modernism, Postmodernism and hyper, for the simple fact that Modernism is an artistic movement that arose between the nineteenth and XX, also known by names, by country, Nuveau Art, Modernism and Jugendstyl, and Modernism and Modernity why are not the same, as the former refers to an artistic movement and the second at a time of Art History, so that, to equalize in the same linguistic and conceptual level, are more successful as proposed. For the term "hyper", today used by some philosophers, like Gilles Lipovetsky, it is entirely wrong, because to use the prefix "hyper" should first have gone through the "super" necessary and applicable nomenclature evolutionary in this case.
To order this test in the first point-I-will address the above in his artistic evolution, in point second-II, we see that the same symptoms are repeated in the social and political aspects, and in the third point - III-offer my conclusions on the current Season super modern. I
Today, with the perspective of time past, a time ceased to be constantly present to become in the future, as a mutation of himself, as a foundation for change, we can address to understand, from this distance, all artistic events of the twentieth century as the arts visual concerns, based on the concept of "scatter art."
We have to consider the art of the twentieth century as an evolving entity, trying to outdo itself at a frenetic pace, in a struggle to discover all forms of expression and representation possible that man could create, making a parallel with the scientific and technological progress, by which mankind would not know what has been known as a conquest over evolution.
Between the late nineteenth and early twentieth centuries in Europe appears Modern Art, at the moment when the artist fails to copy reality, to stop making it up, in this adventurous quest to create the non-existent as the ultimate goal of this evolution unlimited. At that time, art events are given according to a set of stylistic parameters, which make as certain movements with a clear dominance within their midst. These artistic movements succeed each other, as they emerge various forms of expression and representation of something new, discovered or invented. But to use these terms together, we could say that artistic expression is given so objetual represented or conceptual, as his particular burden. Initially
Modern Art was expressed primarily, objetual and framed in a country called Europe, ie focused on a precise geographical location (mainly in Paris) in what would be called historical avant-garde, but that determination was not entirely territorial exclusive, as in Germany, Austria and Italy before the First World War in Switzerland for her, and Russia between 1909 and 1925, there was a major avant-garde activity, but by no means as powerful as in the city of the Seine.
In 1916, the city of Zurich, see the Dada Movement, proposed by Ball and then led by Tristan Tzara thinker, together with a group of artists come true revolution advocated by the end of art or anti-art. But the final break with the essence objetual was in 1917 with Marcel Duchamp, when choosing an everyday object to expose it and sign it as a work of art: a fact of vital importance in the future course of Modern Art, which at that moment have been about provocation, but, ultimately, change the course of history.
Given the order was not delayed due to the ideological clash between two gurus, said Tzara and André Breton, Surrealism's mentor, which many of the artists integrated into the Dadaists were passed to the ranks of the surrealist revolution . Given supposed
If a denial of reality imposed by the powers of society dirigiste, Surrealism claimed the reality of the irrational.
So far, the "state of concentration" which flourished in the world of art was evident, but with the advent of the Second World War in 1939, begins the "scatter art", at least in its early geographical . Those artistic movements that have succeeded in leaving the scene where they develop, running out to make way for new ones. The epicenter of the art world would now New York City, but in Europe, after the end of the war, creative activity would continue but not as overwhelming as in the past. It went from the "School of Paris" to "New York School" and bipolarity in the domain of artistic events.
In the United States of America emerged with force, circa 1945 (and not without state support) Abstract Expressionism as the first genuinely American trend and as the last manifestation of modern art aesthetic, its aftermath, from 1955 , appear Pop Art (European and American), the so-called New Abstraction Abstraction or Postpictórica (later abstractions compete with various European and Cobra Group and informal), Op Art and Minimal Art in American trends already seen an aesthetic break closer to conceptual approaches, and in the case of a Pop Art "neodadaist" in the reproduction of some studies, in which the artist's hand is no longer present, and a strong performance by the influence postmodern iconography of the consumer society. Here, we can talk about the beginning of Postmodernism and point to Pop Art as its first artistic expression. At that time also appear in the body arts (happening, performance, etc.) and the "concept" in its various forms beginning to take relief on the art scene.
is given, then another break on the concentration no longer merely place, but content. Is the concept that comes into play, the legacy of Duchamp and the Dada Movement. The concept takes shape when you leave the Dadaist improvisation, to make advance planning of what is behind the idea, not the idea itself. As a result, starting from 1969 the exhibitions of Conceptual art as such, entitled seeing this trend in 1972 at Documenta 5 in Kassel.
competition between the "concept" and the "purpose" is served as a fratricidal struggle between two elements that are like oil and water, which being incompatible cause dispersion of chemicals. So begins the true path to "scatter art" which is just beginning the transition from dispersion to total dispersion and the triumph of concept over the object, what we might call supermodernity, which is the state we are now.
Postmodernism is given in the aforementioned struggle between the object and the concept through a set of discourses that struggle to prevail, based on the defense or the attack on the mimesis of reality. Artistic activity, in turn, begins to spread in different geographical locations and the eclecticism of the forms of expression-representation takes the form of the generalized tonic. The Art begins to disperse gradually to become a mode of expression characteristic of the Western world that is implemented on a global level, with the ultimate triumph of concept over the object.
supermodernity is characterized by the globalization of art in western global culture, which have accommodated many artists from around the world, working mainly in reference to the concept. We, therefore, that the various states of the History of Art are parallel with the development of Western society on the passing of the twentieth century, as art is a manifestation and reflection emanating from a body.
entered no value at this point the alleged crisis of society globalized and the crisis of art so talkative exposed by Jean Baudrillard, simply unify the history of twentieth century art under the concept of "concentration-dispersion, and time frame to explain its uneven run. 
II If the art world Postmodernism is defined by the struggle between the object and the concept, and the political separation of the different manifestations and the onset of the dispersion of art discussed in the socio-economic and political , Postmodernism, likewise, is identified by the struggle between East and West in what became known as the Cold War, with two ways of understanding economic processes between capitalism and communism. Object-concept art, capitalism, communism in the political and socioeconomic status. Consequently, the onset of postmodernity we could make in the years following the Second World War, European reconstruction and in the process of separating the world into two political blocs.
The struggle between the object and the concept end the supremacy of the concept in the art world in the late 80's, when various events in international art fairs and biennials, the concept goes beyond the different expressions object-based, with an aesthetic sensibility more in tune with the times and against proposals that are aging as a reference the past. In the political and socio-economic, similarly, capitalism, with full liberalization of the economy, is becoming the norm prevailing world against communism failed, with the end of the Soviet Union and the fall was symbolic, in 1989, Berlin Wall.
If the art world at the end of Postmodernism, the dispersion of the different sites gives creators a global level, the socio-economic and political globalization becomes relevant as a model of economic liberalism, in what is defined as "globalization." From here, the total dispersion of art and globalization of the Western model, is when we start talking about the super-modern Era, from 1989, with the fall of the Berlin Wall (although the changes between seasons, Modernity - Postmodernity - supermodernity always occur as a transition process in a few years, with a glimpse of the first demonstrations that eventually take hold and prevail as a guideline).
is also essential within this process that marks the beginning of supermodernity, the emergence of a new means of global communication and information through a network of networks is made known by the name of the Internet, which open application begins to implement from 1992 with previous experimental process that began in 1989 with the first ISP world.std.com phone marking. Now the Internet comes together and develops a new "global culture" that expands the frontiers of communication and information prodigiously, something totally unprecedented in the history of humanity and as a sign of the new super modern Era.
Postmodernism
If Western society is influenced in its development by technology and consumerism trends in what is under supermodernity exacerbated consumerism and high-tech or hi-tech (mobile phones, computers, plasma screens, cyber products, video games, CDs, nanotechnology, etc.), as it represents a quantum leap over previous technological advances. And the human relationship with technology is different because its dependence becomes part of their way of life as essential.
immediately obvious that life and the social dynamics of Postmodernism is not the same, that from globalization processes that take place after the fall of the Berlin Wall, and injures no reason to perceive this new reality and keep talking about current times as if we were still installed in a sort of eternal Postmodernism, when the social, artistic and political and are not the same, and when technological advances are changing the evolutionary processes of the human species.
III
Having already certified the death of the Postmodern Era and Postmodernism, now explain my conclusions about the newly launched super modern Era.
An uncertain thinker, as is Francis Fukuyana, distorting Hegel declared the End of History to see the triumph of economic liberalism, "the solution to the problems of humanity, when the political model, based on greed , usury and speculation (which is played with human dignity in casinos called stock exchanges), triumphs with corrupt foundations of communism and is morally reprehensible when a minority subject, points of interest, most of the inhabitants of the planet. In this regard, Gilles Lipovetsky is wrong when he said that his so-called "hyper" is based on four principles, such as human rights, pluralist democracy, the logic of the market and techno-scientific logic, because human rights are in no way respected democracies (that look more like dictatorships disguised) who are eager for the maintenance of an economic system so unjust that favors exclusively to owners money, when such "democracies", dominant in the West, make illegal wars that trample human rights that they say will have to enforce. And it supermodernity, rather, is identified by the simulation involving the alleged benefits of liberal economic values, dictatorship disguised as democracy, respect for human rights as a convenience, and yes, here it, the techno logic.
The super modern society the individual is alienated from everything that makes up the political-economic system the above, through a series of dynamic transferee deemed as lifestyle. Consumer culture is exacerbated and image it is clear from the material, so you are worth, money and glitz as synonymous with social success, is the utter banality infecting the foundations of society itself.
And, indeed, the triumph of economic liberalism was the wreck of utopias, thoughts looking at the evolution of the human species, a more just, free and peaceful, offering in return a wild economic gaps widening economic inequality, with a consequent increase in mass poverty and injustice and hegemony of the sign. Thus, under the inertia born supermodernity transferee and embryonic crisis an economic system that points the way to the contrary that symbolizes Utopia: dystopia.
To this we must add that after the fall of the Berlin Wall and the dismantling of communist political systems, the world is again divided, this time in two blocks with a completely different way of understanding reality, and under the influence of traditions set by the dictates of their dominant religions. The globalization process imposed by the West, under the rules of their order as a form of economic and cultural conquest, is rejected by Muslim societies and theocratic political regimes, but with a bias toward retrograde postulates ultraconservative. There is, consequently, a clash of civilizations based on the sense of their different religions, when it is increasingly clear that the monotheistic religions, whose gods were invented by men to provide support and response to uncertainty over the existence, have only served to generate violence and serve the opposite of what logically follows from the attributes that should be the divinity, such as love, mercy and respect for others, so that now an uncompromising Islam, schizophrenic, uses of violence to stay away from any value that could be endorsed by a true god in the same process to the Catholic Church throughout its history.
The lack of values, the simulation, the alienation of the individual by the power and the economic system, consumerism, addiction and schizophrenia religious technology, are the values of a new super modern Period mired in banality. The human species, it seems, walks to the dystopia. Will have to wait, meanwhile, the birth of posthuman man, that will live in peace on this planet after the collapse of the present humanity.
Pablo Paniagua, to November 20, 2010
Rights Reserved - Copyright © Pablo Paniagua
http://www.escritorweb.blogspot.com/
BIBLIOGRAPHY:
This test to be more consistent with the method proposed by Michel de Montaigne, departs from academic dominating the genre and as such offers the bibliography omitted specifications having the text:
-Simón Marchan Fiz. The art object art of concept (afterword on postmodern sensibility.) Ediciones Akal, SA 1988. Madrid, Spain.
-Mario De Micheli. Avant-garde artists of the twentieth century. Alianza Editorial SA 1988. Madrid, Spain.
-Edward Lucie-Smith. Artistic movements since 1945. Ediciones Destino SA 1994. Barcelona, Spain.
Jean Baudrillard. The aesthetic illusion and disillusionment. Monte Avila Editores 1998. Caracas, Venezuela.
-Arthur Danto. The end of art. "The Walker" (tenth anniversary) 1995. Siruela Ediciones SA Madrid, Spain.
-Joseph Maria Montaner. Overcome modernity (architecture, art and twentieth century thought.) Editorial Gustavo Gili SA 1999. Barcelona, Spain.
-Jorge Juanes. Posthuman art. "Artelugio" No 5, 2002. Direction of communication and cultural dissemination Autonomous University of Querétaro. Mexico.
-Francis Fukuyama. The End of History and the Last Man. Editorial Planeta 1992. Barcelona, Spain.
-Gilles Lipovetsky. Hypermodern times. Ed Anagrama 2006. Barcelona, España
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