[français ci-dessous / English below]<br><br>
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<p class="MsoTitle" style="text-align: left; line-height: 150%;" align="left"><i style=""><span style="font-size: 12pt; line-height: 150%; font-weight: normal;" lang="PT-BR">Ensaio sobre o rádio e o cinema: estética e técnica das artes-relé, 1941–1942</span></i></p>
<p class="MsoTitle" style="text-align: left; line-height: 150%;" align="left"><span style="font-size: 12pt; line-height: 150%; font-weight: normal;" lang="PT-BR">Pierre Schaeffer<span style="">
</span><span style="">(1910<i style="">–</i>1995)</span></span></p>
<p class="MsoTitle" style="text-align: left; line-height: 150%;" align="left"><span style="font-size: 10pt; line-height: 150%; font-weight: normal;" lang="PT-BR">Editado
por Sophie Brunet e Carlos Palombini</span></p>
<p class="MsoTitle" style="text-align: left; line-height: 150%;" align="left"><span style="font-size: 10pt; line-height: 150%; font-weight: normal;" lang="PT-BR">Aparelho
crítico e tradução de Carlos Palombini</span></p>
<p class="MsoTitle" style="text-align: left; line-height: 150%;" align="left"><span style="font-size: 10pt; line-height: 150%; font-weight: normal;" lang="PT-BR">Coleção
Inéditos & esparsos</span></p>
<p class="MsoTitle" style="text-align: left; line-height: 150%;" align="left"><span style="font-size: 10pt; line-height: 150%; font-weight: normal;" lang="PT-BR">Setembro
de 2010</span></p>
<p class="MsoTitle" style="text-align: left; line-height: 150%;" align="left"><span style="font-size: 10pt; line-height: 150%; font-weight: normal;" lang="PT-BR">Apoio
FAPEMIG</span></p>
<p class="MsoTitle" style="text-align: left; line-height: 150%;" align="left"><span style="font-size: 10pt; line-height: 150%; font-weight: normal;" lang="PT-BR">R$ 45</span></p><p class="MsoTitle" style="text-align: left; line-height: 150%;" align="left">
<span style="font-weight: normal;">Lançamento no Brasil 15 de setembro de 2010 no Encontro Internacional de Música e Artes Sonoras, UFJF</span><br style="font-weight: normal;"><span style="font-size: 10pt; line-height: 150%; font-weight: normal;" lang="PT-BR"></span></p>
<p class="MsoTitle" style="text-align: left; line-height: 150%;" align="left"><span style="font-weight: normal;" lang="PT-BR"> </span></p>
<p class="MsoTitle" style="margin-right: -11.6pt; text-align: left; line-height: 150%;" align="left"><span style="font-weight: normal;" lang="PT-BR">A
Editora UFMG e as Edições Allia lançam simultaneamente em setembro, no Brasil e
na França, o livro <i style="">Ensaio sobre o rádio e
o cinema: estética e técnica das artes-relé, 1941-1942</i>, primeiro trabalho
teórico importante de Pierre Schaeffer, escrito em Marselha sob a Ocupação, no
qual se preparam a arte radiofônica de 1943, a música concreta de 1948, a
pesquisa musical de 1958 e o <i style="">Traité des
objets musicaux</i> de 1966. O texto foi reconstituído por Carlos Palombini e
Sophie Brunet, principal colaboradora de Schaeffer, a partir de manuscritos
depositados na Abadia de Ardenne, sede do Instituto Memórias da Edição
Contemporânea (IMEC), na Normandia.</span><span style="font-weight: normal;" lang="PT-BR"></span></p>
<p class="MsoTitle" style="text-align: justify; text-indent: 35.45pt; line-height: 150%;"><span style="font-weight: normal;" lang="PT-BR">A obra é
acompanhada por um extenso aparato crítico no qual Carlos Palombini examina a
situação dos estudos sobre o trabalho de Schaeffer e expõe as diretrizes da
edição. Ao descrever e analisar os documentos nos quais se baseou, ele revela o
projeto de incorporação de uma parte substancial do <i style="">Ensaio sobre o rádio e o cinema</i> a uma obra abandonada. Uma série de
excertos inéditos de 1938 a 1964 nos quais o autor prepara, retoma ou reformula
o tema das artes-relé ilustra o desenvolvimento do pensamento de Schaeffer. O
anexo contém uma variante e um esboço bem como o relato de uma visita de
Schaeffer a André Malraux.</span></p>
<p class="MsoTitle" style="text-align: justify; text-indent: 35.45pt; line-height: 150%;"><span style="font-weight: normal;" lang="PT-BR">O rádio foi
um dos instrumentos da ascensão nazista, e o cinema francês conheceu uma curiosa
idade de ouro sob a Ocupação. A onipresença do rádio e do cinema justifica o
estudo de suas premissas técnicas e estéticas: ao lidar diretamente com a
realidade sonora e visual, eles têm poder sobre o concreto. Mas a tela sonora
do alto-falante monaural e a tela bidimensional da projeção cinematográfica
destituem os eventos sonoros e visuais de sua consistência material. Eles não
apresentam nem o evento nem sua reprodução ou transmissão, mas simulacros. Essa
evocação <i style="">in absentia</i> das coisas é
análoga à da linguagem, que torna presente o intangível — conceitos, ideias,
relações — pela mediação da palavra. O rádio e o cinema almejam poder igual.
Nas páginas do <i style="">Ensaio sobre o rádio e o
cinema</i> a linguagem reflete o rádio e o cinema, que refletem a linguagem, </span><i><span style="font-weight: normal;" lang="PT-BR">ad infinitum.</span></i></p><p class="MsoTitle" style="text-align: justify; text-indent: 35.45pt; line-height: 150%;">
<br><i><span style="font-weight: normal;" lang="PT-BR"></span></i></p><p class="MsoTitle" style="text-align: justify; text-indent: 35.45pt; line-height: 150%;">---<i><span style="font-weight: normal;" lang="PT-BR"></span></i></p>
<p class="MsoTitle" style="text-align: justify; text-indent: 35.45pt; line-height: 150%;"><br><i><span style="font-weight: normal;" lang="PT-BR"></span></i></p><p class="MsoTitle" style="text-align: justify; text-indent: 35.45pt; line-height: 150%;">
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</p><p class="EDCorpodeTexto" style="text-indent: 0cm; font-weight: normal;"><i style=""><span style="font-size: 14pt; line-height: 150%; font-family: Arial; color: black;" lang="FR">Essai sur
la radio et le cinéma : esthétique et technique des arts-relais, 1941–1942
</span></i><span style="font-size: 14pt; line-height: 150%; font-family: Arial; color: black;" lang="FR"></span></p>
<p class="EDCorpodeTexto" style="text-indent: 0cm; font-weight: normal;"><span style="font-size: 14pt; line-height: 150%; font-family: Arial; color: black;" lang="FR">Pierre Schaeffer </span></p>
<p class="EDCorpodeTexto" style="text-indent: 0cm; font-weight: normal;"><span style="font-family: Arial; color: black;" lang="FR">Texte établi par Sophie Brunet et
Carlos Palombini </span></p>
<p class="EDCorpodeTexto" style="text-indent: 0cm; font-weight: normal;"><span style="font-family: Arial; color: black;" lang="FR">Appareil critique de Carlos Palombini<i style=""></i></span></p>
<p class="EDCorpodeTexto" style="text-indent: 0cm; font-weight: normal;"><span style="font-family: Arial; color: black;" lang="FR">Éditions Allia, septembre 2010, €15</span></p>
<p class="EDCorpodeTexto" style="text-indent: 0cm; font-weight: normal;"><span style="font-family: Arial; color: black;" lang="FR"><a href="http://www.alliaeditions.com">www.alliaeditions.com</a> </span></p>
<p style="font-weight: normal;" class="EDCorpodeTexto"><span style="color: black;" lang="FR"> </span></p>
<p class="EDCorpodeTexto" style="text-indent: 0cm; font-weight: normal;"><span style="color: black;" lang="FR">Les Éditions Allia et les Éditions Université de
Minas Gerais publient en septembre, en France et au Brésil, l’<i style="">Essai sur la radio et le cinéma : esthétique
et technique des arts-relais, 1941–1942</i>, de Pierre Schaeffer (1910–1995). Écrit
à Marseille sous l’Occupation, cet ouvrage constitue son premier travail
théorique de longue haleine, préparant l’art radiophonique de 1943, la musique
concrète de 1948, la recherche musicale de 1958 et le <i style="">Traité des objets musicaux</i> de 1966. Le texte a été reconstitué par
Carlos Palombini et Sophie Brunet, principale collaboratrice de Schaeffer, à
partir de manuscrits inédits déposés à l’abbaye d’Ardenne, siège de l’Institut
mémoires de l’édition contemporaine (IMEC).<i style="">
</i></span></p>
<p style="font-weight: normal;" class="EDCorpodeTexto"><span style="color: black;" lang="FR">L’œuvre s’accompagne d’un appareil critique dans lequel Carlos Palombini
présente la situation des études sur le travail de Schaeffer et énonce les
principes du travail d’édition. En décrivant et analysant les documents, il
décèle le projet d’incorporation d’une partie de l’<i style="">Essai sur la radio et le cinéma</i> à un ouvrage abandonné. Une série
d’extraits inédits de 1938 à 1964 où Schaeffer prépare, reprend ou reformule le
thème des arts-relais illustre le développement de sa pensée. Les annexes
contiennent une variante et une ébauche ainsi que le compte-rendu d’une visite
à André Malraux</span></p>
<p style="font-weight: normal;" class="EDCorpodeTexto"><span style="color: black;" lang="FR">La radio a été un des instruments da l’ascension nazie et le cinéma
français a connu un curieux âge d’or sous l’Occupation. L’ubiquité de la radio
et du cinéma justifie l’étude de leurs données techniques et esthétiques :
travaillant directement sur la réalité sonore et visuelle ils ont pouvoir sur
le concret. La toile sonore du haut-parleur monaural et la toile bidimensionnelle
de la projection cinématographique dépouillent les événements sonores et
visuels de leur consistance matérielle, ne présentent ni l’événement ni sa
reproduction ou transmission mais des simulacres. Cette évocation <i style="">in absentia</i> des choses est pareille à celle
du langage qui rend présent l’intangible — des concepts, des idées, des
relations — par l’intermédiaire du mot. La radio et le cinéma escomptent un
égal pouvoir. Dans les pages de l’<i style="">Essai
sur la radio et le cinéma : esthétique et technique des arts-relais</i>, le
langage reflète la radio et le cinéma, qui reflètent le langage, à l’infini. <br></span></p><p style="font-weight: normal;" class="EDCorpodeTexto"><br></p><p style="font-weight: normal;" class="EDCorpodeTexto">---</p><p style="font-weight: normal;" class="EDCorpodeTexto">
<br></p><p style="font-weight: normal;" class="EDCorpodeTexto">
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</p><p class="EDCorpodeTexto" style="text-indent: 0cm;"><i style=""><span style="font-size: 14pt; line-height: 150%; font-family: Arial; color: black;" lang="EN-GB">Essay
on Radio and Cinema: Aesthetics and Technique of the Relay-Arts, 1941–1942</span></i></p>
<p class="EDCorpodeTexto" style="text-indent: 0cm;"><span style="font-size: 13pt; line-height: 150%; font-family: Arial; color: black;" lang="EN-GB">Pierre Schaeffer (1910–1995)</span></p>
<p class="EDCorpodeTexto" style="text-indent: 0cm;"><span style="font-size: 10pt; line-height: 150%; font-family: Arial; color: black;" lang="EN-GB">Text established by Sophie Brunet
and Carlos Palombini</span></p>
<p class="EDCorpodeTexto" style="text-indent: 0cm;"><span style="font-size: 10pt; line-height: 150%; font-family: Arial; color: black;" lang="EN-GB">Critical apparatus by Carlos
Palombini</span></p>
<p class="EDCorpodeTexto" style="text-indent: 0cm;"><span style="font-size: 10pt; line-height: 150%; font-family: Arial; color: black;" lang="EN-GB">Preface, introduction and Portuguese
translation by Carlos Palombini (Brazilian edition)</span></p>
<p class="EDCorpodeTexto" style="text-indent: 0cm;"><span style="font-size: 10pt; line-height: 150%; font-family: Arial; color: black;" lang="EN-GB">Éditions Allia (Paris) and Editora
UFMG (Belo Horizonte), September 2010</span></p>
<p class="EDCorpodeTexto" style="text-indent: 0cm;"><span style="font-size: 10pt; line-height: 150%; font-family: Arial; color: black;" lang="EN-GB"><a href="http://www.alliaeditions.com">www.alliaeditions.com</a> €15</span></p>
<p class="EDCorpodeTexto" style="text-indent: 0cm;"><span style="font-size: 10pt; line-height: 150%; font-family: Arial; color: black;" lang="EN-GB"><a href="http://www.editoraufmg.com.br">www.editoraufmg.com.br</a> R$45</span></p>
<p class="EDCorpodeTexto" style="text-indent: 0cm;"><span style="font-family: Arial; color: black;" lang="EN-GB"> </span></p>
<p class="EDCorpodeTexto" style="text-indent: 0cm;"><span style="color: black;" lang="EN-GB">Éditions Allia and the University
of Minas Gerais Press (UFMG) are publishing, in France and in Brazil, Pierre
Schaeffer’s <i style="">Essay on Radio and Cinema:
Aesthetics and Technique of the Relay-Arts, 1941–1942</i>. Written in Marseille
under the German Occupation, this is his first significant theoretical work,
preparing the radio art of 1943, the <i style="">musique
concrète</i> of 1948, the <i style="">recherche
musicale</i> of 1958 and the <i style="">Traité des
objets musicaux</i> of 1966. The text has been reconstituted by Carlos
Palombini and Sophie Brunet, Schaeffer’s main assistant, from documents kept in
the Ardenne Abbey, home to the Institut Mémoires de l’Édition Contemporaine
(IMEC), in Normandy.</span></p>
<p class="EDCorpodeTexto" style="text-indent: 0cm;"><span style="color: black;" lang="EN-GB"> </span></p>
<p class="EDCorpodeTexto" style="text-indent: 0cm;"><span style="color: black;" lang="EN-GB">The work is accompanied by a
critical apparatus in which Carlos Palombini presents the situation of studies
on Schaeffer’s writing and states the principles of the edition. Describing and
analysing documents, he discerns Schaeffer’s intention of incorporating parts
of the <i style="">Essay on Radio and Cinema</i> into
an abandoned text. A series of unpublished excerpts from 1938 to 1964 in which
Schaeffer rehearses, takes up or reformulates the subject of the relay-arts
illustrates the development of his thinking. The annexes contain a variant and
a sketch as well as the report of a visit to André Malraux.</span></p>
<p class="EDCorpodeTexto" style="text-indent: 0cm;"><span style="color: black;" lang="EN-GB"> </span></p>
<p class="EDCorpodeTexto" style="text-indent: 0cm;"><span style="color: black;" lang="EN-GB">Radio was instrumental in the Nazi
rise to power, and French cinema knew a curious golden age under the
Occupation. The omnipresence of radio and cinema justify the study of their
technical and aesthetic premises: working directly with the sonorous and visual
reality, they have power on the concrete. The sound screen of the monophonic
loudspeaker and the two-dimensional screen of the cinematographic projection
strip sonorous and visual events of their material consistency, they display
neither the event nor its reproduction or transmission, but simulacra. This
evocation <i style="">in absentia</i> is analogous to
that of language, which renders present the intangible — concepts, ideas,
relationships — through the medium of the word. Radio and cinema strive for the
same power. In the pages of the <i style="">Essay on
Radio and Cinema</i>, language mirrors radio and cinema, which mirror language,
<i style="">ad infinitum</i>.</span></p>
<br><span style="color: black;" lang="FR"></span><p></p>
<p></p><p class="MsoTitle" style="text-align: justify; text-indent: 35.45pt; line-height: 150%;"><i style="font-weight: normal;"><span style="font-weight: normal;" lang="PT-BR"></span></i><span style="font-weight: normal;" lang="PT-BR">---</span></p>
<p class="MsoTitle" style="text-align: justify; text-indent: 35.45pt; line-height: 150%;"><br><span style="font-weight: normal;" lang="PT-BR"></span></p><p class="MsoTitle" style="text-align: justify; text-indent: 35.45pt; line-height: 150%;">
<span style="font-weight: normal;">Carlos Palombini</span></p><p class="MsoTitle" style="text-align: justify; text-indent: 35.45pt; line-height: 150%;"><span style="font-weight: normal;"><a href="mailto:cpalombini@gmail.com">cpalombini@gmail.com</a></span><br>
<span style="font-weight: normal;" lang="PT-BR"></span></p>