It 's impossible to understand the deep meaning without confronting the work of Guy Debord with Isidore Isou Lettrist and movement. Started talking to this article a few years ago by the French artist Sandro Ricaldone that offers a concise but comprehensive reading.
Sandro Ricaldone
Isidore Isou: cutting edge and method
Sixty years after its inception, a retrospective about the adventure of Isidore Isou and movement Lettrist shows together, the early definition of a major project, not limited to its artistic, articulate, and the consistency of developments over time.
E 'is for the teens - lived in Romania during the Second World War sotto il regime filonazista del generale Antonescu, in un contesto reso particolarmente incerto dalle origini ebraiche dell’autore e dalla sua frequentazione di gruppi sionistici legati alla Resistenza - che va ricondotta l’individuazione della “lettera” come elemento base del rinnovamento creativo in campo della produzione lirica (cui presto s’aggiungeranno gli ambiti musicale e plastico) ed il primo manifesto di una poesia ancora a venire. Ciò che distingue, da subito, l’approccio di Isou dagli azzardi delle avanguardie primonovecentesche, futuriste e dadaiste, con cui condivide la radicale contrapposizione alle forme acquisite e ormai prive di un dinamismo interno e la tecnica dello scandalo programmato (2), è the systematic analysis on which it is based, as glimpsed in the nucleus of developing a general method of creation that finds its fulfillment in "The Créatique ou la Novatique" (3), a compendium of the extended process of reflection 1941 to 1976 and beyond.
The account of his first volume, published by Gallimard in 1947, "Introduction à une nouvelle poésie et à une nouvelle musique" Isou it moves from a wide-ranging survey of the performance of universal poetry - the prototype of what will call the carte de l'acquis - which distinguishes a phase amplique "(in width), origins of the epic that lasts until the first 800 through "immense works" of anecdotal or narrative subject, one phase ciselante (chisel), inaugurated by Baudelaire and variously developed by Verlaine and Rimbaud in the sense of a progressive concentration on the poem, on the back and on the word (high to Mallarmé at the highest level of expressive power), which is a prelude to the isolation of the letter (4), with an inseparable element whose "liberation" concludes the work of purification and destruction opens (or should be open) a new dimension by size.
In this sense - as noted in the pages Mario Costa "Il 'Lettrism' Isidore Isou" (5) - the project will not have a precise result, whereas in the years immediately following, there un'inusitata horizontal extent of the procedure "ciselant" applied not only to music - united sound poetry from the element - the visual arts, in which the letter takes the value of the sign and, therefore, theater, cinema, economics, where the deconstruction (the super-Break of vocabulary Isou) results in many innovative achievements.
A parallel is meanwhile outlining a scheme of super-aggregation that leads to unite into more complex or higher-order originally separate elements as the totality of the media, and not usual, Incorporation mecaestetica integral (6) or the different alphabets, pictographs, crosswords, riddles, cartoons included in the novel metagrafico (7) (which merged with the Theatre and everyday life takes on a projection three-dimensional next to "Situations construites" after proposals from Debord) and then hyperspace-graphy, dominated all the records exist or be invented, which in turn extends to the size of 'imagery (8).
I. Isou, La télévision ou l'anti-dechiquetée crétinisme
Surely the works of art make Isou one of the protagonists of the second half of the 900 Just think, for matters relating to poetry, the outcomes of "Lances rompues gothique pour la dame" (1947), one of the incunabula of poetry phonetics, or the landing of zeroing "lettries blanches" (1958) and, as the visual arts, the challenge represented by a page of ordinary records classified as "object Nouvel plastique" (1944) or the sequence of "Nombres" (1952) , Sonnets in transposed elements, not to mention the latest "Commentaires sur Van Gogh" (1985), great work-around comment images reproduced by the Dutch painter. His first film, "Traité de et burrs of eternity" (1951), constitutes a milestone in contemporary experimental film, while in the "Débat sur le cinema" (1952), debate on a film to do, that does not exist, creates a meta extreme-film and play "La marche des Jongleurs," touches - staging the dissection of a dead dog - the limits of "la nouvelle science de l'outrage: the outragéologie.
Nor can we forget the debate on youth, "external" to the system of production and socially marginalized, reflected since 1949 in "Manifestes soulevement de la jeunesse du" (10) or the battles of today would say "liberation of sexuality and repression against the psychiatric taken respectively at the turn of the 50s and 70s (11)
Looking ahead, however, the goal seems to have Isou place and that is clear right from the youthful autobiography, 'The et d'Agrégation a name of a Messiah "(12), accession to the Nom des Nomsa, the artist of artists, one who is called to replace the Creation to the Cartesian primacy of reason, lies mainly in what we consider his (river) "Discourse on Method." An infinitely complex method, which incorporates - in addition to the components mentioned - the change in hyper-, hyper-definition, hyper-multi-cultural death of all branches, the over-classification, experience the super-, hyper-theology ... but that has proven, over time, a multiplier effect of knowledge and new experiences, a discipline that can raise the art to a new and different level, from the domain of the forms that organize the field of ideas.
Notes:
1) "E 'was read in Kaiserling (sic) that I had the idea of \u200b\u200ba poem based on the letters. The author said that the poets use of words (vocables, in the French text). Vocables in Romanian means "voice", and this gave me the idea of \u200b\u200b"poetry à lettres." I soon noted in my diary, under la data del 19 marzo 1942”. (V. Frederique Devaux, “Entretiens avec Isidore Isou”, La Bartavelle Editeur, Carlieu 1992, pag. 47).
2) Fra i più noti la manifestazione svoltasi il 21 gennaio 1946 al Théâtre du Vieux Colombier dove ad una rappresentazione de "La Fuite" di Tristan Tzara, mentre Michel Leiris sta pronunciando un breve intervento sul Dadaismo, viene interrotto da un gruppo di lettristi che reclamano la parola. Al termine della rappresentazione Isou improvvisa un discorso sui fondamenti del Lettrismo e legge alcuni poemi composti di consonanti e di vocali pure. "Combat" titola: "I lettristi mettono in fuga Tzara".
3)Isidore Isou, “La Créatique ou la Novatique (1941-1976)”, éditions Al Dante - Léo Scheer, Romansville 2003.
4) According Isou neither Dada nor Surrealism arrive at this result. Tzara in fact merely attacking "what remains of logic and sense in poetry", making it an "empty concept", similar to what will then Breton through the psychic automatism.
5) Mario Costa, "The 'Lettrism' Isidore Isou," Carucci Editore, Rome 1980 (see especially pp. 24 et seq.)
6) Isidore Isou, "Esthétique du cinema" in "ION" (number one), 1952.
7) The first examples of the species are "Les journaux des Dieux" di Isou (Aux escaliers de Lausanne, 1950); “Saint-Ghetto-des-Prets” (Editions O.L.B., Grimoire, 1950) di Gabriel Pomerand e “Canailles” di Maurice Lemaître (“Ur” n. 1, 1950).
8) Isidore Isou, “Introduction à l’esthétique imaginaire”, in “Front de la Jeunesse” n. 7, 1956.
9) Isidore Isou, “Le manifeste de l'excoordisme et du téïsynisme” (1992) consultabile su “etweb, le site de l' excoordisme et du téïsynisme” (http://perso.wanadoo.fr/e.t.web/ index.html).
10) Isidore Isou, “Traité d’économia nucléaire. Le soulèvement de la jeunesse” tome I, Aux escaliers de Lausanne 1949 ; Id., “Les manifestes du Soulèvement de la jeunesse. 1950-1966”, Centre de Créativité, 1967.
11) Isidore Isou, “Isou ou la mecanique des femmes”, Aux escaliers de Lausanne, 1949 ; Isidore Isou, “Je vous apprendrai l’amour, suivi de Traité d’erotologie mathématique et infinitésimale”, Le terrain vague, 1959. Isidore Isou, “Manifeste pour une nouvelle psychopathologie et une nouvelle psycothérapie”, in “Lettrisme”, n. 18-22, 1971.
12) Isidore Isou, “L’agrégation d’un Nom et d’un Messie ”, Gallimard 1947
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