Salvador Gallardo Cabrera

"El pentagrama eléctrico" by Salvador Gallardo is one of the most radical and beautiful poetry collections of the Estridentist avant-garde. Published in 1925, with an engraving by Ramón Alva de la Canal on the cover, the book’s eleven poems trace paths through a sensory city, traversed by erotic currents, varying speeds, thermodynamic frequencies and machines that “sweat in torrents”, “trolleybuses clinging to the wires”, and emotional signs in advertisements, through simultaneous images, superimposed planes and a new syntactic orientation of language. A hundred years after its publication, "El pentagrama eléctrico" shines like a living flash of lightning, capable of disrupting our sensory and poetic regime.

The text traces a conceptual line from Blaise Pascal’s 17th-century calculating machine to OpenAI’s forthcoming ambient AI device, engaging a genealogy of technical regulation, environmental control, and the shifting status of intelligence. The essay examines how the externalization of human faculties—calculation, memory, intention—has evolved into a form of environmental modulation within contemporary algorithmic governance. In doing so, it questions the assumptions of modern rationality and proposes the notion of modal intelligences: forms of cognition emergent in both natural systems and non-human artifacts, from oceans and forests to artificial environments.

In this essay we attempt the morphology of three spaces: from the islands, that of logical appearance; from the deserts of sand or ice, that of the construction of modes of existence; and from the sea, the space of broken representation. We have movements of currents, of migrations, what they carry with their undulations and the places where they are going. How does one dominate a space? What do we mark apart from observable movements in spaces? A time? Time can be a measure of space. But that measure imprisons us in the very space we measure. Therefore, spaces neither balance nor promise. They are formed by events that disfigure the subjects, events that grow and die. Even to build the atlas of the new interconnected world, a topic is not enough. There is movement and dimensions are linked. An infinite can enclose; the local can liberate: the logic of the real world is no longer able to order the instantaneity of our contacts. En este ensayo se intenta la morfología de tres espacios: desde las islas, el de la apariencia lógica; desde los desiertos de arena o hielo, el de la construcción de modos de existencia; y desde el mar, el espacio de la representación rota. Tenemos movimientos de corrientes, de migraciones, lo que arrastran con sus ondulaciones y los lugares hacia donde están yendo. ¿Cómo se domina un espacio? ¿Qué marcamos aparte de unos movimientos observables en los espacios? ¿Un tiempo? El tiempo puede ser una medida del espacio. Pero esa medida nos aprisiona en el propio espacio que medimos. Por ello, los espacios no equilibran ni prometen. Están formados por acontecimientos que desfondan a los sujetos, acontecimientos que crecen y mueren. Ni aun para construir el atlas del nuevo mundo interconectado basta una tópica. Existe el movimiento y se enlazan las dimensiones. Un infinito puede encerrar; lo local puede liberar: la lógica del mundo verdadero no logra ordenar ya la instantaneidad de nuestros contactos.

In Bernhard's novel Correction, a Cambridge professor sets himself the task of building an ideal house for his sister in the middle of a forest. The projected house is a Cone with which he seeks to make the art of construction approach “philosophical art in the highest degree”. The lines of connection with the biography of Ludwig Wittgenstein (1889-1951) are clear. Isn't it tempting to define Wittgenstein's philosophy with a simile of Loos' sweeping and cleaning operation in architecture and design? I believe that Loos's critical stripping of the function/form/use triad served as an encouragement to Wittgenstein's thinking. For the philosopher, the meaning of a concept is in itself as rules of the game; it is nothing without its meaning and its meaning is nothing but its own use in the language games in which it may appear. A word, for example, becomes an interjection of assent by the game in which it appears, not by the form of the word. Wittgenstein thought that the greatest mistake of the philosophers of his generation, including G. E. Moore, was that when they analyzed language what they considered were word-forms and not the use made of those word-forms. How can one not find in these remarks of Wittgenstein's an echo of Loos's formula “meaning is use”? En Corrección, la novela de Bernhard, un catedrático de Cambridge se da a la tarea de construir una casa ideal para su hermana en el centro de un bosque. La casa proyectada es un Cono con el que busca que el arte de la construcción se acerque “al arte filosófico en el más alto grado”. Las líneas de conexión con la biografía de Ludwig Wittgenstein (1889-1951) son claras. ¿No resulta tentador definir la filosofía de Wittgenstein con un símil de la operación de barrido y limpieza que realizó Loos en la arquitectura y el diseño? Creo que el despojamiento crítico que hizo Loos de la tríada función/forma/uso sirvió de aliento al pensamiento de Wittgenstein. Para el filósofo, el significado de un concepto está en él mismo como reglas del juego; no es nada sin su significado y su significado no es nada sino su propio uso en los juegos de lenguaje en que puede aparecer. Una palabra, por ejemplo, se convierte en interjección de asentimiento por el juego en que aparece, no por la forma de la palabra. Wittgenstein pensaba que el mayor error de los filósofos de su generación, incluido G. E. Moore, era que cuando analizaban el lenguaje lo que consideraban eran formas de palabras y no el uso que se hacía de esas formas de palabras. ¿Cómo no encontrar en estas observaciones de Wittgenstein un eco de la fórmula de Loos “el significado es el uso”?

An essay on the operation of the powers of control during the pandemic lockdown. Thus, the meaning of contemporary noise, the anthropause, the connection as a norm, the appearance of a new chain between biopolitical regulations, norms and subjective modulations are analyzed. The untimely force of the event is proposed as a way of resisting control. Un ensayo sobre el funcionamiento de los poderes de control durante el encierro pandémico. Se analizan, así, el sentido del ruido contemporáneo, la antropausa, la conexión como norma, la aparición de un nuevo encadenamiento entre regulaciones biopolíticas, normas y modulaciones subjetivas. Se propone la fuerza intempestiva del acontecimiento como forma de resistir al control.

Philosophy, it is said, has always been concerned with space and nature. Since Aristotle, even since the pre-Socratics, and up to Descartes and Leibniz at least, no one was worthy of the title of philosopher if he had not written something about meteors. And not only about meteors: observations on the movements of the Earth and changes in nature, changes of state or speed, transitions and contacts between strange elements, spatial geometrical properties, the order of coexistences - their limits - and the correspondences between scales; force and matter, constructive typologies and geomorphology were an indissoluble part of the philosophical field. It is not that philosophy reflected on these external themes, but that these themes formed the fabric of the philosophical body. What happened, then, between the end of the seventeenth century and the first half of the eighteenth century? How did the themes related to space and nature become diluted and disappear from philosophical discourses? It is not a question of the split between man and nature, ancient and incommensurable, but of the separation of nature itself, modern and discontinuous, by means of which it was placed alongside the barren, the inert, as a category. La filosofía, se dice, se ocupó siempre de los espacios y de la naturaleza. Desde Aristóteles, incluso desde los presocráticos, y hasta Descartes y Leibniz por lo menos, nadie era digno del título de filósofo si no había escrito algo sobre los meteoros. Y no sólo sobre los meteoros: las observaciones sobre los movimientos de la Tierra y la mudanza en la naturaleza, los cambios de estado o de velocidad, las transiciones y los contactos entre elementos extraños, las propiedades geométricas espaciales, el orden de las coexistencias —sus límites— y las correspondencias entre las escalas; la fuerza y la materia, las tipologías constructivas y la geomorfología formaban parte indisoluble del campo filosófico. No es que la filosofía reflexionase sobre esos temas externos, sino que esos temas formaban el tejido del cuerpo filosófico. ¿Qué sucedió, entonces, entre el final del siglo XVII y la primera mitad del siglo XVIII? ¿Cómo fue que los temas relacionados con el espacio y la naturaleza se diluyeron y desaparecieron de los discursos filosóficos? No se trata de la escisión entre hombre y naturaleza, antigua e inconmensurable, sino de la separación de sí de la naturaleza misma, moderna y discontinua, por medio de la cual fue puesta al lado de lo yerto, lo inerte, como una categoría.

The historical avant-gardes showed that it is in the syntactic space where the mutations of art occur, where the creative potentialities in contemporary art are played. Hence the need to accentuate the syntactic creation registers in the works of the Estridentistas. There is no creation of images, rhythms, words, atmospheres, sound orientations, planes or political-literary postures that are valid apart from the syntax effects in which the poems of Manuel Maples Arce, Germán List, Salvador Gallardo and Kyn-Taniya take place, the paintings, engravings and sculptures by Fermín Revueltas, Ramón Alva de la Canal, Germán Cueto and Leopoldo Méndez, the novels and essays by Arqueles Vela, the pieces from the Estridentista period by Silvestre Revueltas, the plays by Salvador Gallardo and Germán Cueto. The syntax is the tracing of indirect paths created in each poem, installation, plastic or musical work, to show life in things; those forces, paths and paths that, when going from life to language, create a work. It is, therefore, a speed. I don't use "speed" as a metaphor. It is the speeds that interdigitate events, images, objects; those that relate and stress semantic, sound, semiotic and social forces, paths and trajectories. Velocity is the gradient of the syntax, the relationship between phenomena, the variation of the elements according to a certain direction, the trajectory medium, the semantic loads and the systems of signs: it is not necessary to think that the syntactic effects are something like general mechanisms that precede poems, plastic and musical works. A new syntactic speed detaches itself as much as it can from what is constituted and seeks to bring poetic, pictorial, musical language to its threshold of meaning, informational or communication, to its referential, rhythmic, constructive threshold. Therefore, it should not be confused with acceleration. Slowness is a speed, as in Handke's writing or in some sections of Tarr's films.

Lezama, and later Deleuze, discovered that the baroque does not refer to an essence, but to an operative function. That operative function is the fold, which "curls and multiplies", as Lezama writes, and proliferates to infinity. We all know the examples with which Lezama placed his concept of the American baroque: the poems of Domínguez Camargo, those of Sor Juana, the architectures of the Kondori Indian, the baptismal fonts of Aleijadinho, "ornamented like accordions, with spiraloid leaves that ascend"; the chapel of the Rosary, in Puebla, omamentada "without truce or free spatial parenthesis". This is how the fold operates, it is like a leprosy or a lichen -in the past, certain lichens were called leprosy-: it infests by enveloping and developing, it proliferates by setting in motion the fold-unfold pair. Lezama does not seek to reconfigure the sequences of history, but to superimpose other cycles on them, create gaps and vanishing points in chronological and causal narratives, divert the emphasis placed on cultures and redirect it to imaginary eras, until the meaning comes from a series of scales established in the historical. The eras would be ordered according to their potentiality to create images; thus it would be possible to establish the points where the image was imposed as history. The Carolingian imaginary era, for example, forged a link between the prodigies, the marvelous islands, the battles against the Saracens and theocratic reason. How are these scales established and how do they operate? How do counterpoint, images and links work?

The year 2021 marked the commemoration of the centenary of the appearance of the stridentist movement and the literary avant-garde in Mexico. Stridentism broke into the public con- sciousness with the publication of the leaflet Actual No 1 on the main thoroughfares of Mexico City, convulsing the cultural en- vironment of the early 1920s and bringing together diverse young artists to undertake a literary renewal. This facsimile edition of Actual No 3, the final issue of Manuel Maples Arce’s magazine, which appeared a hundred years ago this year and which until very recently was practically unknown, seeks to bring to the pub- lic something that is at once a singular avant-garde object and a magazine that expressed, at a very early stage, the cosmopolitan, iconoclastic, youthful character of stridentism and its time. "Stridentist Neo-object Actual No 3" is a essay that shows that from foundationless things and objects without gravitation to recomposed neo-objects emerges one of the lengthiest, rup- tured, polyhedric mutations in all fields of knowledge. The historical avant-gardes worked precisely in the turning of the tide on auratic objects that led to the appearance of neo-objects or recomposed objects. In their approach to objects, they tried var- ious operations: they deepened the depresentification of “natural” or “given” things, seeking—in some cases—dematerialization, the simultaneity of planes, the breakdown of logical links, while in others they the sought the primacy of the concept. They created multidimensional neo-objects shot through with events, on the scales of spaces, from the juxtaposed to the dislocated, the simultaneous contiguous to the dispersed, and the close to the distant. They criticized objects and materials they saw as bourgeois, auratic, and linked to ancient traditions and techniques. They created new syntactic velocities through which they interdigitated technical objects newly fashioned by human sensibility.