Abstract
In the passage of time from the 1960s to the 1970s, the Brazilian artist Waldemar Cordeiro (1925–1973) developed his first works in computer art by applying the mathematical concept of “derivative function.” Around the same time, he organized and took part in exhibitions, and composed a series of essays envisaging that the use of digital resources would become an inevitable process for the future of information reception and artistic communication. A closer look at Waldemar Cordeiro's production, both artistic and theoretical, after almost 50 years of his first forays into the field of art and technology, is an excellent opportunity not only to revisit his trajectory, but to rewrite the history of digital art and our conception of it, locating Brazil and Latin America as situated centrally, not peripherally, in relation to the European and North American narratives. Drawing from theorists in the field of informational esthetics as well as scholars in the field of media such as Arlindo Machado and Vilém Flusser, this article seeks to demonstrate, through the analysis of Waldemar Cordeiro's theoretical–artistic productions, the relationship between his work, the field of cybernetics, and his utopian and social vision of artistic production.
Similar content being viewed by others
Notes
Works by the Grupo Ruptura can be accessed on the website of Enciclopédia Itaú Cultural: https://enciclopedia.itaucultural.org.br/evento81236/grupo-ruptura-1952-sao-paulo-sp.
I developed the concept of rewriting in my book Reescrituras da arte contemporânea: história, arquivo e mídia. [Rewritings of Contemporary Art: History, Archive and Media]. Porto Alegre: Sulinas, 2015.
In a review entitled “O espanto de Bense” [Bense’s Astonishment], written by Ana Luiza Nobre and published in Folha de S. Paulo on August 16, 2009, it is possible to verify how criticized was Bense's work by Brazilian intellectuals. Critic Sergio Miceli immediately rebukes the publication, claiming that the Ulmian philosopher was completely oblivious to the political, cultural and social history of Brazil. In turn, to Ana Luiza Nobre, who has authored the preface to the publication, Bense's writing reveals the significance that design assumes in Brazil in the 1960s, in the face of an intelligentsia he calls ahistorical. Available at: https://www1.folha.uol.com.br/fsp/mais/fs1608200905.htm.
Available at: https://enciclopedia.itaucultural.org.br/termo3828/popcreto.
Popcreto para um popcrítico [Popcrete for a Popcritic] can be seen at: https://pt.wikipedia.org/wiki/Ficheiro:Popcreto-para-um-popcritico.jpg.
Available at: Derivadas de uma imagem: https://www.visgraf.impa.br/Gallery/waldemar/obras/deriv.htm.
In 1973 Vilém Flusser was invited to the project that aims to reformulate the 12th Edition of the São Paulo International Biennial, especially for the organization of the Art and Communication segment, which included Waldemar Cordeiro among its participants.
References
Belluzzo AM (1986) “Waldemar Cordeiro: uma aventura da razão” [Waldemar Cordeiro: An Adventure of Reason]. In: Amaral A (ed) Waldemar Cordeiro: uma aventura da razão. São Paulo, MAC
Bense M (1975) Pequena Estética [Small Aestetics]. Perspectiva, São Paulo
Cordeiro A (2014a) Waldemar Cordeiro: Fantasia Exata. Itaú Cultural, São Paulo
Cordeiro W (2014b) Arteônica. In: Corderio A (ed) Waldemar Cordeiro: Fantasia Exata. Itaú Cultural, São Paulo
Cordeiro W (2014c) Arte Concreta Semântica. In: Corderio A (ed) Waldemar Cordeiro: Fantasia Exata. Itaú Cultural, São Paulo
Cordeiro W (2014d) Cibernética e Arte. In: Cordeiro A (ed) Waldemar Cordeiro: Fantasia Exata. Itaú Cultural, São Paulo
Cordeiro W (2014e) Arte e Tecnologia. In: Cordeiro A (ed) Waldemar Cordeiro: Fantasia Exata. Itaú Cultural, São Paulo
Cordeiro W (2014f) Arte por Computador. In: Cordeiro A (ed) Waldemar Cordeiro: Fantasia Exata. Itaú Cultural, São Paulo
Costa H (2002) Waldemar Cordeiro: a ruptura como metáfora [Waldemar Cordeiro: Rupture as Metaphor]. Centro Universitário Maria Antonia, São Paulo
Couchot E (2003) A tecnologia na arte: da fotografia à realidade virtual [Technology in Art: From Photography to Virtual Reality]. Translated by Sandra Rey. UFRGS, Porto Alegre
Flusser V (1985) Filosofia da caixa preta. Hucitec, São Paulo
Machado A (2014) Waldemar Cordeiro e a Arteônica. In: Cordeiro A (ed) Waldemar Cordeiro: Fantasia Exata. Itaú Cultural, São Paulo
Moles A (1973) Problematica da Arte Por Computador. https://www.visgraf.impa.br/Gallery/waldemar/catalogo/problema.htm
Nunes FV (2004) Waldemar Cordeiro: from concrete art to the “popcreto.” https://www.academia.edu/7099031/Waldemar_Cordeiro_da_arte_concreta_ao_popcreto_
Author information
Authors and Affiliations
Corresponding author
Additional information
Publisher's Note
Springer Nature remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.
Collaborating professor at MAC USP (Museum of Contemporary Art-University of São Paulo).
Rights and permissions
About this article
Cite this article
Arantes, P.A.C. Waldemar Cordeiro and Arteônica: rewritings of digital art in Brazil and Latin America. AI & Soc 37, 1085–1092 (2022). https://doi.org/10.1007/s00146-021-01342-6
Received:
Accepted:
Published:
Issue Date:
DOI: https://doi.org/10.1007/s00146-021-01342-6