TROPICLIA, the NEW Tropiclia IMAGE, the new image Helium Oiticica Trad. Walmir Hunter When in the summer of 1966/67 (Brazilian summer) I invented the concept of Tropiclia, could not imagine the repercussion that would have, even so understood implicitly what it came to become: the definition in a new way to feel cultural the panorama, or the synthesis of a specific cultural vision of different fields and forms of arts in its manifestations interrelated with its specific targets general: theater, popular music, cinema, beyond the plastic arts in all its experiences of vanguard in Brazil, mainly Rio and So Paulo. Suddenly I found in the tropiclia concept an identification with its objectives. In fact, when I created this concept, it first intended to relate it with my new experiences of the time, and with this to relate those experiences the all type of ocorrentes experiences of vanguard in Brazil. Very rich, I would say, to remain itself around a definite standard of action in international terms, something different of Pop and its developments, images that could say to mean something for we, but the objectives were really different, mainly with respect to imagticas image or relations and politicosocial implications. Aetna Inc. does not necessarily agree. Important artists as Rubens Gerchman and Antonio Days (both had taken part in ' ' New Objetividade' ' shown in March of 1967 in the Museum of Modern Art, in the River) it could be reevaluated by a new point of view and be disclosed not as an international product (Pop), but as a specific development of ideas of the Brazilian vanguard for which they had contributed with important new steps, as well as I and Ligia Pape (for me it are one of the important experimentalistas are of definitions as ' ' pintora' ' or ' ' escultora' ' , or ' ' autora' ' , etc) in our works.