Manifesto Pau-Brazil 6

O trabalho contra o detalhe naturalista – pela síntese; contra a morbidez romântica – pelo equilíbrio geômetra e pelo acabamento técnico; contra a cópia, pela invenção e pela surpresa.

Uma nova perspectiva.

(Work against the naturalistic detail – for the synthesis; against romantic morbidness – for geometric equilibrium and technical completion; against the copy, for invention and surprise.

A new perspective.)

A outra, a de Paolo Ucello criou o naturalismo de apogeu. Era uma ilusão ética. Os objetos distantes não diminuíam. Era uma lei de aparência. Ora, o momento é de reação à aparência. Reação à cópia. Substituir a perspectiva visual e naturalista por uma perspectiva de outra ordem: sentimental, intelectual, irônica, ingênua.

(To another, Paolo Ucello created the naturalism of apogee. It was an ethical illusion. The distant objects did not diminish. It was a law of appearance. However, the moment is a reaction to the appearance. Reaction to the copy. To substitute visual and nauralistic perspective for a perspective of another order: sentimental, intellectual, ironic, ingenious.)

[Paolo (di Dono) Uccello (1397-1475), painter of works in mathematically applied perspective, was born in Florence. He received his first training as a Gothic painter, and assisted in the workshop of the sculptor Lorenzo Ghiberti from 1407 to 1414. Uccello, who went to Venice in 1425 and was the first to bring Renaissance ideas to the Venetian area, holds a unique place in the history of art, for he became involved with perspective to the virtual exclusion of the ethical or intellectual concepts found in other Renaissance artists. Paintings by Uccello are intriguing not because they accurately resemble life, but rather because they differ form it or are so arranged as to confuse us into mistaking illusion for reality. For Uccello a painting was a problem that he solved by the rules of perspective, and the more difficult the problem the more he enjoyed it. His greatest works, the three panels of the Battle of San Romano, Night Hunt, and The Deluge, are to a great extend exercises in foreshortening. The elements within these paintings are spatially unrelated, and held together by pattern, brilliant color, and fantastic effects. His battles are completely improbable tangles of horses, riders, lancers, pennants, helmets, and bits of landscape, each perfectly drawn but becoming abstract in their perfect geometry. Uccello’s imagination and his use of color created some of the most delightful works of the early Renaissance.

Uma nova escala:

A outra, a de um mundo proporcionado e catalogado com letras nos livros, crianças nos colos. O redame produzindo letras maiores que torres. E as novas formas da indústria, da viação, da aviação. Postes. Gasômetros Rails. Laboratórios e oficinas técnicas. Vozes e tics de fios e ondas e fulgurações. Estrelas familiarizadas com negativos fotográficos. O correspondente da surpresa física em arte.

(A new scale:

To another, a proportionate and catalogued world with writing in books, children in laps. The network produces writing greater than towers. And new forms of industry, transportation, aviation. Posts. Locomotives. Technical laboratories and offices. Voices and vibrations of wires and waves and electricity. Stars resemble photographic negatives. The correspondence of physical surprise in art.)

A reação contra o assunto invasor, diverso da finalidade. A peça de tese era um arranjo monstruoso. O romance de idéias, uma mistura. O quadro histórico, uma aberração. A escultura eloquente, um pavor sem sentido.

Nossa época anuncia a volta ao sentido puro.

Um quadro são linhas e cores. A estatuária são volumes sob a luz.

(The reaction against the invading subject, a difference of function. Part of the thesis is a monstrous arrangement. The romance of ideas, a mixture. The historical painting, an aberration. The eloquent sculpture, a meanigless terror.

Our age announces the return to pure meaning.

A painting is lines and colors. The statues are volumes under the light.)

A Poesia Pau-Brasil é uma sala de jantar domingueira, com passarinhos cantando na mata resumida das gaiolas, um sujeito magro compondo uma valsa para flauta e a Maricota lendo o jornal. No jornal anda todo o presente.

Nenhuma fórmula para a contemporânea expressão do mundo. Ver com olhos livres.

Temos a base dupla e presente – a floresta e a escola. A raça crédula e dualista e a geometria, a algebra e a química logo depois da mamadeira e do chá de erva-doce. Um misto de “dorme nenê que o bicho vem pegá” e de equações.

(Wood-Brazil Poetry is a room of domingueira dinner, with nestlings singing in the condensed forest of bird cages, a gaunt beggar composing a waltz for flute and the Maricota reading the newspaper. It travels and is present everywhere in the periodical.

No formula for the contemporary expression of the world. To see with free eyes.

We have a double and actual foundation – the jungle and the school. The naive and dualist people and the geometry, algebra and chemistry soon after the baby’s bottle and anise tea. A mixture of “a sleeping baby whom the worm takes hold” and equations.)

[Maricota: a character in a song by Brazilian composer Marcelo Tupinambá, called “Maricota, Sai da Chuva” – “Maricota, get out of the rain.” also, Maricota is slang for an effeminate man.]

Uma visão que bata nos cilindros dos moinhos, nas turbinas elétricas; nas usinas produtoras, nas questões cambiais, sem perder de vista o Museu Nacional. Pau-Brasil.

Obuses de elevadores, cubos de arranha-céus e a sábia preguiça solar. A reza. O Carnaval. A energia íntima. O sabiá. A hospitalidade um pouco sensual, amorosa. A saudade dos pajés e os campos de aviação militar. Pau-Brasil.

O trabalho da geração futurista foi ciclópico. Acertar o relógio império da literatura nacional.

Realizada essa etapa, o problema é outro. Ser regional e puro em sua época.

O estado de inocência substituindo o estada de graça que pode ser uma atitude do espírito.

(A vision that struck in the cylinders of the mills, in the electric turbines; in the production factories, in the shifting questions, without losing sight of the National Museum. Wood-Brazil.

Obuses of elevators, cubes of skyscrapers and the wise, lazy sun. The Prayer. Carnaval. Intimate energy. The Sage. A little sensual, loving hospitality. The longing of shamans and military airstrips. Wood-Brazil.

The work of the futurist generation is cyclopean. To set the empire’s time of national literature.

Fulfilling that stage, there is another problem. To be regional and pure in your own time.

The state of innocence substitutes the state of grace that can be an attitude of the spirit.)

O contrapeso da originalidade nativa para inutilizar a adesão acadêmica.

A reação contra todas as indigestões de sabedoria. O melhor de nossa tradição lírica. O melhor de nossa demonstração moderna.

Apenas brasileiros de nossa época. O necessário de química, de mecânica, de economia e de balística. Tudo digerido. Sem meeting cultural. Práticos. Experimentais. Poetas. Sem reminiscências livrescas. Sem comparações de apoio. Sem pesquisa etimológica. Sem ontologia.

Bárbaros, crédulos, pitorescos e meigos. Leitores de jornais. Pau-Brasil. A floresta e a escola. O Museu Nacional. A cozinha, o minério e a dança. A vegetação. Pau-Brasil.

(The counterbalance of native originality to disable academic coherence.

The reaction against all indigestible knowledge. The best of our lyric tradition. The best of our modern exhibition.

Only brazilians of our time. The necessity of chemistry, mechanics, economics, and ballistics. Everything digested. Without becoming cultured. Pilots. Experimental. Poets. Without free memories. Without comparisons of support. Without etymologic research. Without ontology.

Barbaric, credulous, colorful and gentle. Newspaper readers. Wood-Brazil. The jungle and the school. THe National Museum. The kitchen, the mineral and the dance. The Vegetation. Wood-Brazil.)

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