5 Lithografias, 1999

Leon Kossovitch

Lithographs in this album, purely receptive, the stone does not oppose resistance to the attacks against it by Cabral: brush and rag, pressed and rubbed by hand, throw, intensive, intensities, the impressor re-intensifies for more or less, reinterpreting interpretation, thereby running the play that comes to it, coagulated at hand. They have the two in hands, each in its own way: his concerted action does not imply affiliation, while open wound in stone, because everything is here, smooth writing, still smooth as rewriting in the print paper, which, in turn, examines why some contemplative didascalia rewrites the impressor, carefully. In these scriptures, Cabral’s speedy action does not require, however, subsequently the speed of loved plays, since only the interval of the first intervention-physical assets, but act and look like libidinized acts. Notions of time, as tension between time and moment, excluding the space as a neutral body and the continent as a mechanical executor, because, for the action associated with the tense time, they lose it in a trivial three-dimensional plane, and do not exceed weight, measure, number, they do not interpret it. Therefore, apart from their conceptual differences, gesture and look, circle outside and climb the scale of bodily incarnation: in this album, the hand manages gesture, not the corporal extremity, while the eye is the look, a pulsating lung.

Tending the break to the point, and the point to the break, the intensive of expansion and concentration simultaneously impose themselves to time. However, gesture and gaze are not on the same plane: that, as action in stone, is not the result of some visual property, or, conversely, that lies at the tip of a conclusion from that attack. Intensive, the break tends to the point, it does not have its ends erased, so that the action, although very brief, may include glimpses, such as grimacing and vocalization, to be rightly regarded here as strange, given it is short, any attempt of framing the action in which the pantomime and bel-canto protrude. In this album, with an intensive break that prevents the transformation of the continent out of action, faces and intonation are in the plan of actio from speakers such as adjuvant of intervention. In an analytical approach, the face can be classified among the performances, while the voice, such as a drive, can be taken interpellantly, even here, however, effect is not attributed to them in action, both being relegated to the remnants of intense excesses, relatively to the direction of brevity. In pulsating time, while the gesture interprets the works, the gaze is, in this, the drive element, to be distinguished from reaching the impressor, coagulated. For what comes out of Cabral, is a long stripe and black attire, nothing underneath, black is the simple line that eliminates the multiplicity of colors, the minimum exemption frames and arias: the arts theater is abolished when martial action prevails in precise gesture.

The writing is smooth, and time is tense, the drive distinguishes itself as the discharge or diversion without embarrassment. As a source, target, object and pressure, its subconcepts, the drive emerges in appreciation of these: free discharge, explains itself as a passage, with lightning speed, potential energy, pure difference, the kinetic, in which due to the expedite of coming and going, extremes tend to indifference. Therefore, with respect to pressure, the going and becoming between source and object does not imply, in terms of static piezometric loss in stone and Cabral, in a dynamics, turbulence or stagnation in the primary process in the same stone. If the vision can be sought, the limitations of intensive break are only shown once this is overcome, once the process is finished. Consequently, in this album, it is not exercised a vision that anticipates the gesture, while he prepares or switches to self-explicit action, that when both spin, faster, like a binary; this vision entwined in concepts and precepts that predetermine the feed-through of the drive, the vision is closed, while formative, inseparable from the previous distrust of direct action, so to all that, participating in the drive. Unrelated to the uncertainties, the regret, decoys – reactive denials – the direct action that prevents access to the passive process, mainly nihilistic, which does not affect the exercise of critical and very active from the very visuality, but later, after the action in the stone.

In the break that focuses on one point or point that expands, there is a drive, here, a gaze that does not see, but also gesture, limits previously unassigned, although with beginning and end. The gesture does not complete movement that sees it as nature, nor it is semanticized by anticipation: everything has significance for defining the break point, the gesture is triggered, without sieve, on the stone. Thus, it brings the look that sees nothing as it attacks, its blackness, out of time, in a tense time of gesture. Always a very brief way: cabralian blackness takes over the ownership of the stone in a simultaneous attack of the gesture that strikes against the stone and the look that also strikes, but of stone, against Cabral. Housed in stone, the look gazes the gesture, as a black light in the action break, or still, as a fascination that accelerates the same gesture, attacking it in intense time. The fall of desire takes place after the interval, reduced to accumulation point, as such, as amplified interval, intensively. In this sense, while the gesture opens the interval, the look is speeds up with blackness, taking it to the other extreme. The look will be seen after all is finished, in so doing, it will have left the stone, gone, its trace will be seen in the trace of the action, filigree, lithography, facing the viewer, the easier, the more it pursues figurations.

Direct action, pure affirmation in the absence of prescribed pathos, of action or colored intonation, makes the process worth it. Even in the first lithography of the album, the only one not to spring from a single bid, no compositional constraints. Sequential, the action is unleashed on areas increasingly diminished, but this narrowing is not a predetermination process, not being prescribed rules that direct it. As a consequence of this, it is not to do the successively occupied parts, excluding the juxtaposition of the composition, or even, the added as a result and totality as a principle. The first album of lithographs, the aggregate has the direct sense of the others, which simplicity nothing presupposes, clear process in many drawings, paintings and objects of Cabral. Example of valuing is the fifth lithography: having some time considered appropriate to print the stone with another, Cabral has given up the attempt to understand that the overlap restrains the moment. Direct execution does not mean preference for an immaculate stone: defective, all crafted in the lithographs of the album, featuring the banks not hit by the hollow ink, despising fully graphical plenitude, on behalf of an entire action, the use of partially decayed support is in conflict with the smoothness of execution, matching, in straightforwardness, the brutishness of the sudden, and the freedom of discharge.

In a not studied action, the multiple, as prescription for the diverse, is not accepted, being thereby excluded precepts of ornament, like the copious variety and rhetorical-poetic, matrix, such as ancient precepts, related to styling, geometric, figurative abstract, etc. In Cabral, both in simple as in the aggregate the direct discharge of the drive is located, however, the style in the field of thoughtless. This concept intersects the wölfflinian and morellian fields: while in the former the style is as historical a priori of the presentation, following mindlessly the works and grooves that periodize them, the latter is produced as a trail of action that is repeated in the same detail according to the artist. The two thoughtless, the detail that betrays the artist as a quirk and the lapse of concepts that he ignores, because he excels them, operating from and in sight of an identity, and in sight of it, debunking it. In Cabral’s album, however, the style does not presuppose identity, nothing unifying clots in stone: unlimited, the clot escapes the history and classifies the thoughtless as wölflinian and morellian styles. Emphasizing the straightforwardness, the style is linked to the drive, in this sense it is a stigma, what for Cabral, comes at a time like the unexpected and recognized in his action. Discontinuous, the style of the lithographs is off the styling, understood here as the francastelian key, as a continuous replacement of a prototype or, in other words, as production submitted to the convergence of sequences. In Cabral’s style, only the direct operating, styles are not done, which is defined in closed sets; belonging to a coagulum, to an open set, inclusiveness considers the divergence, ineffective analogical law.

In such combination, the insurgents are included as a stigma and is, therefore, style and fate: the clot once recognized as belonging to a group, the effect is the inevitability of its appearance, in this sense, the set is extensible and, absent norm of convergence, it can be understood as compossible. Is it not paradoxical that compossibility and divergence can be conceived simultaneously, because in the open set as exemplified by Cabral’s album, the assignment of the element to the set doe not assume ideality for producing itself later; the insistence on new rupture and styles as a replacement involves the closure of the set and the pre-establishment of the act of recognition. In an open set, the new is what fulminates, stigma that suspends expectations: pure sign, shows that the allocation of the element to all that was done without prior convergence was in action. Being established after the compossible made, the repertoire is the open set of production on the one hand, this repertoire does not prejudge the new insurgents, capturing the elements not by any previous identity, and, secondly, it clarifies the drive, unleashed of it as a basis for convergent sequences. However, convergence and divergence can be applied indiscriminately to all open set, on the register allocation of the clot to the repertoire; it can occur that a divergent becomes a convergent, recognized as the first term of succession cut out as closed subsets not implying that they are needy of an assignment that can only happen after.

The combinatorial is gathered into subsets, and the converged sequences in after-effects, it also explains the style as applied to the drive directly discharged. The added of the first lithography exemplifies it, as it values, in juxtaposition, the direct discharge. While the repertoire is said to be produced without prior selection, the possible is that it empowers the drive for standards to relieve all that foreknowledge of every choice, nothing being written in advance: the hand that writes on the stone is crossed by the conflictive look, which has a discharge, metaphorically, a brief way. Neither natural nor arbitrary, the drive is discharged with such a gesture: it updates itself, and only after it recognizes it as part of the set, as a clot style. The posterity of the repertoire makes the possible be known, which remain unknown if it wasn’t for the freedom of discharge. Hence, fatality as an effect, suspensive or otherwise, of clot on the observer, meaning that recognition was made in assigning it to the repertoire: those made enlighten, as compossibly logical, the constellation of possible, discretely updated, because they emerge one after another, they are also compossible, abstraction made of the same update that is not systemic.

The style is, well, the stigma, through the two sets, explicit that they are the same, beyond the differences: the possible is as open as the other, with the difference it only makes itself known in the repertoire; in it, the repertoire performed will crawl all the possible, which, in turn, are the discharge. Both sets coinciding with the difference that one has knowledge of the other, and effecting one another, assignment, or recognition, means the style. The “do not know what” of Leibniz means the consent or refusal, without being an exhaustive reason adduced in the conferring act. But such “do not know what” focuses on the clot, which defines how the visual repertoire, however, the nod as an act conferring that includes the clot in the wrong directory full of visual moves that sustain it. Therefore pulsive invested, the clot dissolves: the look goes out, and nothing is displayed, the style operates as a concept, beyond the two sets, as the drive itself. As it is only possible to download these, optimal discrete combinatorial evidence is selected: the elements of combinatorics, preceding the clots on the effectuation, are formed as units, but units of reciprocal differences not assigned to criteria of externality, as visual comparisons or comments, present, therefore, combinatorial float. They are therefore different units in themselves, not entering the multiple diverse as, for example, composition, figure, ornament, in its concept: the lithographs explicit, in the clot, the differential unit, whereby the drive can be downloaded not fractionated, but entirely, directly. As bids on undivided continuous gestures, earnings, intermittent, broken, differential units are pure intensities.

Being the clot distinction and the differential unit, an updated repertoire and set of possibilities, the former that allow the downloading, while the latter, in addition to what is made, accept it, as open, the future, which thus conceive of themselves as future cohorts of visuality. This affects the contingency made without recourse, however, to science and in regard to appearance. The style, while attached to the repertoire, is governed only by convergence and divergence as a current set and, while associated with the possible, which then made explicit in visual compossible logic, the style is that as the constellation, it makes the lithographic discharge. Explaining the visual style is evident in the harmony of the differential units, whose compossibility does not imply, as we have seen, its simultaneous update: while one refers to an upgrade, the units qualify compossible differences of harmonics. In this articulation, judgment is discriminated: the refusal to assent in lithography without alterations, focusing on the adequacy of the clot and the repertoire, imply, however, another mode of trial, the convenience of the differential unit and the drive as a gaze. The clot is excluded from the register or is included in it, as it converges or diverges stylistically, but because the instinct and the drive will not update it as appropriate, so the interference, accidental or otherwise, in the process should be considered as it could divert or break up the discharge. In this sense, the criterion of the drive is the drive itself: only the plays without friction or diversion remain, so that any correction is inadmissible interference.

The straightforwardness leads directly to Cabral’s album: the gaze’s fall is configured, while raising the vision. In these lithographs an aesthetic is added, that is facing an action without assumptions and whose aggressiveness, focused on the look, speeds up the act. The brutish graphics are identical to the smoothness of the discharge, without sublimation, during the process. In the conflict of gesture and look, that haunts this stone, which is black and wears the same black retarja; nothing underneath or over the intensification which operates as a sign, as a sign of itself, so as style stigma. In such a melancholy blackness it does not seek, much less grief: the lithographs were aligned with depressions and some Gothic revived, if it happens is because he is also disgusted by the corruption and cretinization. But it requires the judgment, which blooms only once the action is done, no less abrupt than the Gothic, but more accurate, the criticism can come from left, actively nihilistic or another. The two-way of judging, of aesthetics and ethics intertwined in it, it must be primarily in the defense of the unconscious as a process. Stripped of color intermezzi fun, they do support the process, the album offers a discussion of historicity, which is only known then, namely, the album itself. Here, aesthetic judgments that before closing the album, suffragate some lithographs over others, they sink, they open immediately for ethical judgments: the history, not of the eye, thus the drive, but the gesture makes this the management, acts in defending itself and with the unconscious, the entire range of positions that accommodate and the cynicism, are driven by an aggressive look in the process, it is then criticism.