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60 Waldemar Cordeiro. Auto Retrato Probabilístico, 1967

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60 Waldemar Cordeiro. Auto Retrato Probabilístico, 1967 Waldemar Cordeiro. Auto retrato probabilístico , 1967. 60 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/GREY_a_00070 by guest on 24 September 2021 Early Brazilian Digital Culture; or, The Woman Who Was Not B.B. RACHEL PRICE “From Waldemar Cordeiro one alWaYs eXpected a contrarian position” begins one obitUarY, titled “Cordeiro: O não afirmatiVo” (Cordeiro: The AffirmatiVe No), aboUt the BraZilian artist Waldemar Cordeiro (1925–1973). 1 The obitUarY refers to Cordeiro’s VigoroUslY polemical career as a critic and artist, a career shaped bY his earlY training in ItalY, Where he Was born and liVed Until his mid-tWenties and Where he read Antonio Gramsci, a lasting inflUence. The title of the reVieW also pUns on Cordeiro’s 1967 Auto retrato probabilístico (Probabilistic Self- Portrait), a photograph of the artist reprodUced on a grid of moVable pieces that bear the Words não (no) or sim (Yes), thUs creating a piXilated self-portrait stamped With references to binarY logic. BUt Cordeiro espoUsed a “ não afirmativo ,” an affirmatiVe negatiVitY or, per - haps better, an affirmatiVe VirtUalitY, in at least one other WaY. Cordeiro Was the first artist in Latin America to make compUter art, Which he created With phYsicist Giorgio Moscati on an IBM 360/44 in the phYsics department at the UniVersitY of São PaUlo in 1968. He Was the first to embrace a digital post - Fordist moment after a solid career in abstract then concrete painting in the 1950s and readYmades and landscape architectUre in the 1960s. In his last Years, after the Waning of concrete art’s object-oriented philosophY and artWorks, he moVed toWard an affirmatiVe nonobjectiVitY. DUring these Years concretism’s obsession With objects and readYmades (poet AUgUsto de Campos termed Cordeiro’s Works in this Vein “ popcretos ”) ceded to happenings, processes, and ephemeralitY. In the moVe aWaY from making things to heeding pro - cesses, Cordeiro joined manY of his contemporaries, sUch as LYgia Clark and Helio Oiticica. BUt Cordeiro Was singUlar among his peers in his pUrsUit of the digital. His theoretical interest in the potential of compUters and in both postsUbjectiVe and postobjectiVe (i.e., postconcrete) art is highlighted in the enigmaticallY titled compUter art piece from 1971 A mulher que não é B.B. (The Woman Who Is Not B.B.), Which depicts a Woman identified onlY as “not Brigitte Bardot.” The image is a digitiZed Version of a neWspaper photograph of a crYing YoUng Vietnamese Woman, processed to prodUce a piXilated effect (the piXels Were ASCII characters Grey Room 47, Spring 2012, pp. 60–79. © 2012 Grey Room, Inc. and Massachusetts Institute of Technology 61 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/GREY_a_00070 by guest on 24 September 2021 Left: Waldemar Cordeiro, José Luiz Aguirre, and Estevam Roberto Serafim. Source photo for A mulher que não é B.B ., 1971. Opposite: Waldemar Cordeiro, José Luiz Aguirre, and Estevam Roberto Serafim. A mulher que não é B.B ., 1971. laYered to create VarYing degrees of darkness) into Which noise—randomlY assigned dark dots— has been introdUced. The resUlting image is clearlY not the same as the original photograph, Which is itself defined negatiVelY: “not B.B.” The artWork’s title also plaYs on a 1925 essaY bY BraZilian poet, critic, and mUsicologist Mario de Andrade titled “ A escraVa qUe não é IsaUra ” (The SlaVe Who Is Not IsaUra ), a modernist parodY of the romantic “realism” of Bernardo GUimarães’s 1875 noVel A escrava Isaura (The SlaVe IsaUra) .2 Parts of Andrade’s essaY Were first Written for São PaUlo’s seminal 1922 Semana de Arte Moderna and attempt to define modernista poetrY, emphasiZing in Van - gUard stYle the importance of creation oVer imitation. The teXt describes “the slaVe that is not IsaUra ”: in Andrade’s fable, this neW “slaVe,” or mUse, is poetrY, sheer creation. BorroWing from the 1920s modernists in its title, Cordeiro’s artWork is also apophatic—that is, defined negatiVelY—in manY other WaYs: not romantic, not realist, not modernist, not sUbjectiVe, not of the (passing) indUstrial age. MoreoVer, not onlY Was the image manipUlated bY the introdUction of random - ness, bUt the moVe from analog-indeXical photographY —in Which the sUbject literallY bears Upon the print—to a digital format means the image has no “real” hUman referent. This negation is in keeping With Cordeiro’s distrUst of naiVe representation. For mUch of his career Cordeiro railed against both natUralism (art as mere rep - resentation of WorldlY objects) and sUbjectiVism (eXpressiVism) in art, in mani - festos, essaYs, talks, and When discUssing his oWn Work. Yet his compUter art corpUs, Whose prodUction process shoUld haVe made it in some WaYs the most objectiVe of his Work, comprises mostlY (hand-)digitiZed photographs of the hUman figUre or face, some of Which conVeY tYpical depictions of affect, sUch as Valentine’s DaY silhoUettes of coUples in loVe or the image of a face in pain. That is, jUst When compUter algorithms promised to remoVe sUbjectiVitY from representation, “the hUman” reentered Cordeiro’s oeUVre both on the leVel of the making of the art—in the choices made to alter analog images and in the actUal hUman labor needed to digitiZe the images—and on the leVel of sUbject matter. 3 The hUman Visage and its affect, as Well as the sensorY processing that these portraits are intended to elicit in the spectator, represents a central bUt hitherto UndereXamined aspect of Cordeiro’s compUter art. 4 Electronic and biological 62 Grey Room 47 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/GREY_a_00070 by guest on 24 September 2021 artist EdUardo Kac, in a 1997 introdUction to Cordeiro’s Work for English-speaking aUdiences, notes that “in [Cordeiro’s] compUter art, math - ematical abstraction (as digitiZed and processed imagerY) and political and emotional concerns (as content-oriented art) came together in a trUlY original and challenging WaY for the first time in his career.” 5 BUt hoW did Cordeiro arriVe at What Kac sUggests is a singUlar sYn - thesis, and WhY? Cordeiro’s prescient insights aboUt the relations betWeen affect, embodiment, and digital and nonsUbjectiVe art inhere in the não of A mulher que não é B.B . To Understand the mUltiple WaYs in Which the image is “not” B.B., We mUst consider Cordeiro’s career from his earlY daYs as a painter throUgh his Work as a landscape archi - tect in São PaUlo to his compUtational collaborations With Moscati. Against Naturalism Cordeiro Was born in 1925 in Rome to an Italian mother and a BraZilian father. He moVed to São PaUlo in 1946 and qUicklY began Working as an art critic and illUstrator, bringing With him from ItalY not onlY his readings in Gramsci bUt the inflUence of Piet Mondrian, Kasimir MaleVich, and constrUctiVism more generallY. ThroUghoUt his career Cordeiro’s aesthetic philosophY WoUld anchor itself in that of Konrad Fiedler, the nineteenth-centUrY German scholar of aes - thetics Who argUed that art does not express bUt simplY is and Who belieVed in an objectiVe, “pUre” Vision beYond sUbjectiVe impressionism. In 1952, Cordeiro joined other PaUlista artists in forming the Grupo Ruptura , Which laUnched itself With an antinatUralist manifesto. Here and elseWhere Cordeiro’s critiqUe Was leVied against natUralism’s concept of art as an “imita - tion of the appearance of faUna, flora and the hUman figUre,” one that disaVoWed the organiZing poWer of the frame, of color, of conVention—in short, all the arti - fice that prodUces the illUsion of realism. 6 More than a decade later, as he Was making popcretos , Cordeiro WoUld Write that eVen “Pop-Art rUns the risk . of a neW natUralism.” 7 ThroUghoUt the 1950s Cordeiro Was an aVid adVocate of concrete art. In “Concretismo como arte de criacão contraposta à arte de eXpressão” (Concretism as an Art of Creation as Opposed to EXpressiVe Art) Cordeiro cites the DUtch artist and theorist Theo Van DoesbUrg, Who coined the term concrete art in 1930 , reiterating that concretism Was “an entirelY creatiVe art” different from both fig - Price | Early Brazilian Digital Culture; or, The Woman Who Was Not B.B. 63 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/GREY_a_00070 by guest on 24 September 2021 UratiVe and nonfigUratiVe art, both of Which Cordeiro felt Were “eXpressiVe” and sUbjectiVe. 8 BecaUse both represent sentiments or emotions, both are opposed to an art of the object. 9 In the earlY 1950s Cordeiro began to aUgment his Work as a painter and critic With Work as a landscape architect. AlthoUgh Cordeiro’s Work in this field has been, With recent notable eXceptions, less appreciated than his fine art and althoUgh it Was principallY a means to make a liVing, Cordeiro approached land - scape architectUre as an eXtension of his theoretical and artistic interests more generallY. 10 The 1950s Were, moreoVer, a time in Which landscape architectUre in BraZil Was Understood as of a piece With deVelopments in other arts: Roberto BUrle MarX, the coUntrY’s most famoUs artist-tUrned- paisagista , had been giVen an important and Well-pUbliciZed shoW at the MUseU de Arte de São PaUlo (MASP; São PaUlo Art MUsUem) in 1952, the same Year Cordeiro began Work as a paisagista .11 In sketches made from close obserVation, Cordeiro discoVered in plants and leaVes the same serialiZation dear to concrete art. As poet and critic Décio Pignatari recollects, bringing together natUre and machine, [Cordeiro] placed himself in the position of a Gramscian organic artist: the serialiZed form Was a UniVersal icon in montage, throUgh Whose perception the operator coUld perceiVe the process of the passage from qUantitY to qUalitY, the pUre VisUalitY .
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