Abstract

The historical avant-gardes showed that it is in the syntactic space where the mutations of art occur, where the creative potentialities in contemporary art are played. Hence the need to accentuate the syntactic creation registers in the works of the Estridentistas. There is no creation of images, rhythms, words, atmospheres, sound orientations, planes or political-literary postures that are valid apart from the syntax effects in which the poems of Manuel Maples Arce, Germán List, Salvador Gallardo and Kyn-Taniya take place, the paintings, engravings and sculptures by Fermín Revueltas, Ramón Alva de la Canal, Germán Cueto and Leopoldo Méndez, the novels and essays by Arqueles Vela, the pieces from the Estridentista period by Silvestre Revueltas, the plays by Salvador Gallardo and Germán Cueto. The syntax is the tracing of indirect paths created in each poem, installation, plastic or musical work, to show life in things; those forces, paths and paths that, when going from life to language, create a work. It is, therefore, a speed. I don't use "speed" as a metaphor. It is the speeds that interdigitate events, images, objects; those that relate and stress semantic, sound, semiotic and social forces, paths and trajectories. Velocity is the gradient of the syntax, the relationship between phenomena, the variation of the elements according to a certain direction, the trajectory medium, the semantic loads and the systems of signs: it is not necessary to think that the syntactic effects are something like general mechanisms that precede poems, plastic and musical works. A new syntactic speed detaches itself as much as it can from what is constituted and seeks to bring poetic, pictorial, musical language to its threshold of meaning, informational or communication, to its referential, rhythmic, constructive threshold. Therefore, it should not be confused with acceleration. Slowness is a speed, as in Handke's writing or in some sections of Tarr's films.