GARCIA MARITINEZ Mónica and DAMANI Abdelkader (under the direction of ). With contributions from ALEXANCO José Luis, BRIONES Florentino, DAMANI Abdelkader, GARCIA MARITINEZ Mónica, GOMEZ DE LIANO Ignacio, MUNOZ PARDO María Jesús, SEGUI DE LA RIVA Javier…
The Unspeakable Community. Madrid, October 68. The Unspeakable Community. Madrid, October 68.
Lienart
Regular price
€34,00
| N° d'inventaire | 23923 |
| Format | 24 x 30 |
| Détails | 312 pages, 225 illustrations, paperback. Bilingual work French / Spanish |
| Publication | Paris, 2021 |
| Etat | Nine |
| ISBN | 9782359063226 |
In 1968, the first computer appeared at the University of Madrid, marking the beginning of the Computing Center's activities. After decades of cultural isolation, artists, musicians, architects, engineers, scientists, and intellectuals began to reflect on the use of computers in their creative processes. The Computing Center became the most significant space for creative freedom at the end of the dictatorship, establishing itself as a structure for collective experimentation, in a context where the gathering had an almost subversive significance.
The immunity provided by the aura of technology, seemingly non-ideological, allowed the Centre to give unprecedented impetus to Spanish innovation, which had remained in gestation. A double rupture ensued: the collapse of the cultural bloc imposed by the political regime; the disappearance of the boundaries between the different fields of creation, opening up experimentation to new avenues of expression.
By building "bridges between an absolutely virtual and imaginary world, and a real world", the Computing Centre opens writing to other horizons of experimentation, such as music and the plastic arts, while drawing inspiration from new theories
linguistics of Noam Chomsky and information of Max Bense.
The book revisits the historical work of Javier Seguí de la Riva, which forms the necessary corpus to understand the context of the time and to connect the works of architects and artists, in a permanent questioning around the cohabitations between imagination and experimentation. As for the moving forms of José Luis Alexanco, they rub shoulders with the Impossible Figures of José María Yturralde, in dialogue with the poetry of Ignacio Gómez de Liaño and Guillermo de Searle.
The immunity provided by the aura of technology, seemingly non-ideological, allowed the Centre to give unprecedented impetus to Spanish innovation, which had remained in gestation. A double rupture ensued: the collapse of the cultural bloc imposed by the political regime; the disappearance of the boundaries between the different fields of creation, opening up experimentation to new avenues of expression.
By building "bridges between an absolutely virtual and imaginary world, and a real world", the Computing Centre opens writing to other horizons of experimentation, such as music and the plastic arts, while drawing inspiration from new theories
linguistics of Noam Chomsky and information of Max Bense.
The book revisits the historical work of Javier Seguí de la Riva, which forms the necessary corpus to understand the context of the time and to connect the works of architects and artists, in a permanent questioning around the cohabitations between imagination and experimentation. As for the moving forms of José Luis Alexanco, they rub shoulders with the Impossible Figures of José María Yturralde, in dialogue with the poetry of Ignacio Gómez de Liaño and Guillermo de Searle.
The immunity provided by the aura of technology, seemingly non-ideological, allowed the Centre to give unprecedented impetus to Spanish innovation, which had remained in gestation. A double rupture ensued: the collapse of the cultural bloc imposed by the political regime; the disappearance of the boundaries between the different fields of creation, opening up experimentation to new avenues of expression.
By building "bridges between an absolutely virtual and imaginary world, and a real world", the Computing Centre opens writing to other horizons of experimentation, such as music and the plastic arts, while drawing inspiration from new theories
linguistics of Noam Chomsky and information of Max Bense.
The book revisits the historical work of Javier Seguí de la Riva, which forms the necessary corpus to understand the context of the time and to connect the works of architects and artists, in a permanent questioning around the cohabitations between imagination and experimentation. As for the moving forms of José Luis Alexanco, they rub shoulders with the Impossible Figures of José María Yturralde, in dialogue with the poetry of Ignacio Gómez de Liaño and Guillermo de Searle.