Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
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work, the financialand social cost of these activitieswas very high and could not
be sustainedin a climate of 'bankruptcy'and increasingpolitical and social unrest. Whilethe Institutehad a viable strategyfor the optimismof the early 1960s,
it had few defences againstthe radicalizationof the later years.
NOTES
1. The historyof the WeimarRepublicin Germanyoffersa numberof interestingparallels
with Argentinain the 1960s. See Gay,P. (1969). WeimarCulture.SeckerandWarburg
(London).This analogy,with a numberof interestingobservationson Argentinain this
periodwas providedby JuanCarlosTorre.
2. Ocampo,V. (1967). 'Vidade la revistaSur: 35 aflosde unalabor',Sur, 303-305. (Nov.
1966-April1967), p. 19.
3. See Jameson,F. (1979). 'Reificationand Utopia in MassCulture',The Social Text,
(Winter),p. 136. An impassioneddefenceof the review,as opposedto the weekly news
magazine,is madeby RegisDebray(1981). Teachers,Writers,Celebrities:TheIntellectualsof ModernFrance.New Left Books (London),p. 60-78.
4. Ocampo,V. (1970). 'Despuesde cuarentaanos',Sur, 325 (Julio-Agosto),p. 1.
5. Alloway,L. (1969). The VeniceBiennale.Thamesand Hudson(London),p. 149
6. HalperinDonghi,T. (1961). La Universidadde BuenosAires, EUDEBA(BuenosAires).
7. Technical institutes such as the Consejo Nacional de InvestigacionesCientificasy
Tecnicas,El Instituto Nacionalde TecnologiaAgropecuariaand the InsitutoNacional
de Tecnologa Industrialwere set up with governmentfunds.The Fondo Nacionalwas
foundedin 1958 to providestate fundingfor the arts.
8. Lynes, R. (1972). Good Old Modern:An IntimatePortraitof the Museumof Modern
Art, (New York).
9. HalperinDonghi, T. (1972), in his Argentina:democraciade masas,Paidos(Buenos
Aires),equatesthe growthof marketingwith the impact of the Di TellaInstitute.On
p. 156 he suggeststhat, while the Jockey Clubcouldguaranteethe qualityof tradition,
the Di Tellaofferedmodernityin its place.
10. It has been suggestedthat PrimeraPlana,by constantlyridiculingandcriticizinggovernment strategiesand democraticpoliticians,helped createthe climatefor the coup of
1966.
11. Wolfe,T. (1980). ThePaintedWord,Bantam(New York),p. 36.
12. CEAbegan its activitiesin 1965 workingin the fields of experimentaltheatre,modern
dance,mime,musicalcomedyand 'cafe-concert'.CLAEMwas a separateteachingInstitute for composers.Twelvebecariosfrom all over LatinAmericatrainedfor a periodof
two years in El Di Tella, taughtby local musiciansand visitingprofessors,including
such major contemporarycomposers as Copland,Messiaen,Nono and Xenakis. As
part of its teachingand researchprogramme,CLAEMdevelopedone of the most advancedelectronicmusic laboratoriesunderthe creativegeniusof the technicaldirector
Fernandovon Reichenbachand its musicaldirector,FranciscoKropfl.
13. Interviewwith GuidoDi Tella.
14. It was arguedthatscientificmodernizationcouldbe achievedby highlytrainedspecialists
researchingin smallinstitutesbased on the model of MIT,where Guido Di Tella had
studiedunderRostow. Therewas a generalconsensusfor acceptingRostowianTalcottParsonsmodelsof developmentin the early 1960s.
15. LaNacion, 21.9.65.
16. Clarin,9.7.66.
17. Yooll, A. G. (1979). ThePressin Argentina1973-78, Writersand ScholarsEducational
Trust(London).
18. King, J. (1981). 'Towardsa Readingof the ArgentineLiteraryMagazineSur', Latin
AmericanResearchReview, Vol. 16, No. 2.
19. Experienciaswas the name given to the exhibitionsthat replacedthe nationalprizesin
1967, 1968 and 1969, with the prizemoney dividedup amongtwelveartists.The 1968
Experienciaswere the most memorable.One exhibit, the notoriousbaflo by Roberto
Plate, illustratessome of the tensions of the period. Plateproduceda simulacrumof a
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public toilet, where the visitor entered an environment consisting mainly of white walls.
There he was encouraged to produce descargas emocionales rather than ffsicas Predictably, graffiti appeared, some of which contained unflattering references to Ongania.
The police intervened and tried to close the whole exhibition and after negotiations it
was decided to close only the one exhibit. A ludicrous situation arose, with the exhibit
closed with a municipal seal and a policeman standing guard outside to prevent any
violation of the order. Consequently it became a much more interesting exhibit than
before, with people flocking to the latest Di Tella 'happening'.