Re: [-empyre-] Profile of the Brazilian cirtic Mario Schenberg

["arteonline" <arteonline@arteonline.arq.br>]

Chère Isabel / Dear all,

C'est un plaisir te rencontrer ici.
É um prazer te encontrar aqui.
It is nice to meet you here.

C'est bon savoir que tu aprendre un petit peu plus sur l'art de mon pays.
É bom saber que você está aprendendo um pouquinho mais sobre a arte do meu
país.
It is good to know that you are learning a little bit more about the art of
my country.

Je pense que la réponse  peut être avec Lévi-Strauss et son livre "La Pensée
Sauvage".
Eu penso que a resposta pode estar com Lévi-Strauss e seu livro "O
Pensamento Selvagem'.
I think that the answer can be with Lévi-Strauss and his book "The Savage
Mind".

According to Lévi-Strauss  "exist two different manners from scientific
thought - one fitting to the perception and imagination, and another
dislocated; as if the necessary relations, object of all science , neolithic
or modern, they could be reached by two different ways: one very next to the
sensitive intuition and another more distant."

(O Pensamento Selvagem (La Pensée Sauvage, The Savage Mind), Claude
Lévi-Strauss , Papyrus Press, 1989.)



Je pense que le Neoconcrete essayer d' employer la pensée sensible.

Eu penso que o Neoconcreto tentou utilizar o pensamento sensível.

I think that the Neoconcrete tryed to make use of the sensitive thought.



Et toi?

E vocês?

What about you?



Regina


----- Original Message -----
From: "info.saij-netart" <info@saij-netart.net>
To: "soft_skinned_space" <empyre@lists.cofa.unsw.edu.au>
Sent: Monday, March 15, 2004 11:57 AM
Subject: Re: [-empyre-] Profile of the Brazilian cirtic Mario Schenberg


Hi All, dear Regina,

I read your recent messages about neoconcrete.
Thank you for the information : I'm discovering many interesting people
(I was completely ignorant of) and learning a lot about Brazil and
its culture.

In your text you mention this sentence from Mario Schenberg :
"It is the intuition that shows the solution of the problems."
This appreciation comes from a scientist with a passion for art.
It reminds me questions I sometimes discussed with friends
- "how" a scientist "discovers" something ?
- "how" an artist "creates" a work, a piece of art ?
- is the mental process for scientists and artists (in their
  respective activities) so different, or comparable in some way ?
Of course I've no answer, but something about that in the discussions
of the neoconcrete ?

Best

Isabel

am 15.03.2004 13:45 Uhr schrieb arteonline unter
arteonline@arteonline.arq.br:

> Mario Schenberg is one of the richest profile of the history of science in
> Brazil:  he was physicist and critic of art, and he did not follow the
> politics career too because, in the two times that he was elect state
> deputy, his mandate was annulled.  Beyond his dedication to the physics,
he
> took off photos, he prepared catalogues and he studied eastern science.
> During the dictatorship, he did not leave the country, he believed that to
> stay here in Brazil  was his civic duty.
>
> In the physics, Schenberg detached as few. Coexisted with the colleagues
> José Leite Lopes and Cesar Lattes and was disciple of the Russian Gleb
> Wataghin.  He worked with quantum, thermodynamic mechanics and
astrophysics.
> The physicist conjugated a shining career with his beliefs in the
existence
> of a parafísica. He believed  that the intuition was one of the main
weapons
> of science.  Schenberg said that the man of science needed to be open to
the
> stranger.  "I do not guide myself only for the reasoning", he  said in an
> interview to Science Today in 1984.  "It is the intuition that shows the
> solution of the problems."
>
> It was in one of his trips to exterior that Schenberg arrived at one of
the
> main discoveries of his career:  the Urca process, that allowed to
> understand the collapse of new stars.  This occurred in 1940, when the
> Brazilian was in the United States invitated by the astrophysical Russian
> George Gamow.
> Schenberg always nourished passion for the art.  His work as critic was
> recognized for public and artists.  The physicist wrote texts on Alfredo
> Volpi, Lygia Clark and Hélio Oiticica, among others.  His  two women in
> life - he was proud of being single - were artists.  He had an enviable
> collection of art. "As critic of art, the artists always interested him,
he
> was interested to know the way artists linked themselves in the world",
said
> the physics  Amélia Hamburger, member of the Advice of the Chair Mario
> Schenberg, Institute of Advanced Studies of the USP.
>
> During the dictatorship Schenberg dedicated himself with more assiduity to
> art.  Annulled and forbidden to enter in the university campus, he started
> to live of the reviews that he wrote.  "At this time, he discovered that
the
> artistic way was much more solidary that the academic".
>
>
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