And as for Spinoza, I think we could also have made him a model supporter of CASLA for his qualities of honorable, humble behavior and [being a] worthy fighter. As you said, he was a very special guy, totally indifferent to the ephemeral charms of this world. A kind of contemplative saint, a Mahatma Gandhi of the 17th century.
You also mention Deleuze. As much as he was a Frenchman and an anarchist, I think that a man capable of writing the following warning about the societies of control would be an excellent president for our club.
It's easy to look for correspondence between types of society and types of machines, not because the machines are decisive, but because they are an expression of the social formations that have originated them and use them. The ancient societies of sovereignty operated with simple machines - levers, pulleys, clocks. The later disciplinary societies equipped themselves with power machines, with the passive risk of entropy and the active risk of sabotage. The control societies operate through a third kind of machine, informatic machines and computers whose passive risk is interference and whose active risks are piracy and inoculation with a virus. It´s not only a technological evolution; it´s a deep mutation of capitalism."
You have to pay attention, be very careful with the information you read, hear, see. Media manipulation comes in from all sides, and especially through the Internet. It's more important than ever to ask questions, quietly ponder what you are learning, what the sometimes difficult to identify economic interests want us to think. The smoke and mirrors sellers have access to your screen.
I just read something about Breton that I found in the Mexican paper, El Economista.
It seems like a weird place to read about the father of surrealism, but what Cecilia Kuhne published there on January 26th of this year is interesting. (I put up the link and also the whole piece.):
Breton and his wrinkle-free words
To be opposed is a condition which, for those who are honest with their own spirit, exists from birth. It has nothing to do with a profession or with what you feel like doing. André Breton, for example, in keeping with his vocation for medicine, studied the teachings of Galen but he had already been seduced by poetry. And he did not encounter his favorite writers [in the realm of] aesthetic pleasure. Baudelaire and Mallarmé, those whose every verse he gladly devoured, were anti-establishment poets who were in full spiritual quest.
Later, he realized that they were destroying literary forms and advocating for new ones. And he did not like language, structure, anything that the world was proposing or imposing. Could it be that from his earliest childhood he thought that, "The man who cannot visualize a horse galloping on a tomato is an idiot"? There is no way of knowing. What is known is that André Breton was the creator of Surrealism - one of the most exquisite, well-crafted and influential avant-garde movements of the 20th century.
During the First World War, Breton worked in psychiatric hospitals, studied the works of Sigmund Freud and marvelled at the force of the unconscious and automatic writing. That new way in which words hid and revealed [meaning] fascinated him. For that reason, it's not strange that from 1916 on, André Breton approached new artistic movements. He first stood with Dadaism, in which he passionately believed.
Dada, which meant the babbling or first sound that a child makes, was immediately adopted as the name of the new style that was seeking to begin from zero, to shock, to break all boundaries and was declaring the creative act to be more transcendent than the product created.
Breton was convinced of the Dadaist postulates but he went a step further. To struggle with reality and give imagination its place, he invented Surrealism. Its name - in French, surréalisme
- means "above reality" and it was the movement he would spearhead.
In every action or artistic creation he proposed following the dictates of thought without the intervention of reason and that everything should be alien to any aesthetic or moral concern. Surrealism would project the inner world with images taken as much from the real as from the oneiric and would transform life. Because the mind of man would have liberated itself from all the restrictions that enslaved it.
After having founded the magazine Littérature,
in 1924 André Breton published the "First Surrealist Manifesto." In that long, specific and passionate text, Breton began to explain the origin and the motives of Surrealism with the following words: "So much faith is put in life, in life´s most precarious aspects, in real life, naturally, that faith ends up vanishing." Several pages later he would launch one of his sentences which have already become classics: "Beloved imagination, what I love most in you is that you never forgive."
Over the course of pages and pages, two more manifestos, essays, and poetry, Breton explained to the world the marvels of Surrealism because he was convinced, and wrote that "the marvellous is always beautiful, everything marvellous is beautiful, as a matter of fact, only that which is marvellous is beautiful." Nevertheless, as always, such passion became excessive; Breton became associated with the French Communist Party and expelled from the Surrealist group everyone who didn't support his idea of "journeying toward the Marxist Revolution" (among them Artaud and Dalí).
And in 1938, in his surrealist way, Breton ended up in Mexico. About that visit - which originally was the aim of this column - Fabienne Bradu wrote a marvellous (naturally) book called Andre Breton in México
, which has just been reprinted. In it, the writer speaks of the poet's supporters and detractors, of the positive and negative reactions he provoked on Mexican soil, and of how the poet met Leon Trotsky and Diego Rivera. Art and Marxist orthodoxy met head on, and the three of them attempted to write "A Manifesto for Independent Revolutionary Art." But things didn't turn out as they'd planned. Surrealism, a doctrine which aspired to revolutionize reality by way of poetry, had committed a fundamental error. Because art and politics do not get along well, since they don't search for the same thing.
They both wanted to change the way things were, explains Bradu, but one did it through freedom and the other through power. And so, if everything were like that, there was nothing the imagination could do to save us.
-Cecilia Kühne, Jan. 2, 2012.
Viggo: A few hours after playing Belgrano in Córdoba, the rumor that's going around yet again (for the umpteenth time) is that Romagnoli might not be one of the eleven starters. No doubt Caruso prefers a defensive team, with more muscle and less brains, less talent and spirit. As for myself, when they tell me that Caruso has something, that because of that, he rescued San Lorenzo from the B [Division], I'll tell them, "Yes, he has and had something: Romagnoli." Because it was Pipi who carried the team on his shoulders and made that lethal dribbling so that Gigliotti could put in the headshot for the 3 to 2 against Newell's, and it was he too who attacked in a game that was already almost lost to leave Bueno open for the 3 to 1 against San Martín de San Juan and brought us out of the coma we were in, already packing things up to spend a season ascending. In an interview, Caruso said that if he'd had Messi, he'd have put him in in the second period. I don't think there's much more to say. Pipi wants to play and he's let the coach know it; his teammates want him to start, but it could be we are going to Córdoba with a miserly strategy. And now I ask, "Does the end justify the means?" and Spinoza would reply, "No, never". Because San Lorenzo can win playing in a miserly way (Italy has won world championships that way), but to what end? Romagnoli is mortal; in a few years, he's not going to play anymore. Why should we deprive ourselves of his talent and his spirit, things that our game doesn't have in abundance, just because of the fears of a coach who's driven by results? That is not, shall we say, the ontology of our team. Romagnoli is non-negotiable. I hope that the San Lorenzo supporters make that known to our coach.