MANIFESTEN ONDERZOEK

Het Communistisch Manifest

Karl Marx (1818-1883) en Friedrich Engels (1820-1895) gelden als de grondleggers van het 'wetenschappelijke socialisme'. Naast het Communistisch Manifest schreven
ze een groot aantal boeken, waarin ze hun theorieën en opvattingen uitwerkten tot een omvattende visie:
de kapitalistische maatschappijcvorm zal onvermijdelijk vervangen worden door een nieuwe, zonder onderdrukking en maatschappelijk onrecht, 'waarin de vrije ontwikkeling van ieder de voorwaarde is voor de vrije ontwikkeling van allen'.

Het Communistisch Manifest verscheen in februari/maart 1848, meer dan honderdvijftig jaar geleden. Het was een briljante politieke tekst, die geschreven werd aan de vooravond van ingrijpende revolutionaire gebeurtenissen
in grote delen van Europa. Toch duurde het nog vele jaren voor het meer bekendheid en een grote verspreiding kreeg. In 1890 kon Friedrich Engels trots constateren dat het toen 'het wijdstverbreide, het meest internationale product van de gehele socialistische literatuur' was.
In Nederland verscheen de eerste vertaling niettemin pas in 1892.

Het Manifest van Terschelling

Bezuinigingen zijn aan de orde van de dag. Onderwijs, gezondheidszorg, de arbeidsmarkt. Maar ook op het gebied van kunst en cultuur. Het is begrijpelijk dat bezuinigen noodzakelijk is.

Maar het is verschrikkelijk als de sector omtrent kunst en cultuur er zwaar onder lijdt. Hoe zou de wereld eruit zien zonder kunst en cultuur? Geen schilderijen, geen dansvoorstellingen, geen bioscoop, geen muziek?

METAMODERNIST MANIFESTO

1. We recognise oscillation to be the natural order of the world.

2. We must liberate ourselves from the inertia resulting from a century of modernist ideological naivety and the cynical insincerity of its antonymous bastard child.

3. Movement shall henceforth be enabled by way of an oscillation between positions, with diametrically opposed ideas operating like the pulsating polarities of a colossal electric machine, propelling the world into action.

4. We acknowledge the limitations inherent to all movement and experience, and the futility of any attempt to transcend the boundaries set forth therein. The essential incompleteness of a system should necessitate an adherence, not in order to achieve a given end or be slaves to its course, but rather perchance to glimpse by proxy some hidden exteriority. Existence is enriched if we set about our task as if those limits might be exceeded, for such action unfolds the world.

5. All things are caught within the irrevocable slide towards a state of maximum entropic dissemblance. Artistic creation is contingent upon the origination or revelation of difference therein. Affect at its zenith is the unmediated experience of difference in itself. It must be art’s role to explore the promise of its own paradoxical ambition by coaxing excess towards presence.

6. The present is a symptom of the twin birth of immediacy and obsolescence. Today, we are nostalgists as much as we are futurists. The new technology enables the simultaneous experience and enactment of events from a multiplicity of positions. Far from signalling its demise, these emergent networks facilitate the democratisation of history, illuminating the forking paths along which its grand narratives may navigate the here and now.

7. Just as science strives for poetic elegance, artists might assume a quest for truth. All information is grounds for knowledge, whether empirical or aphoristic, no matter its truth-value. We should embrace the scientific-poetic synthesis and informed naivety of a magical realism. Error breeds sense.

8. We propose a pragmatic romanticism unhindered by ideological anchorage. Thus, metamodernism shall be defined as the mercurial condition between and beyond irony and sincerity, naivety and knowingness, relativism and truth, optimism and doubt, in pursuit of a plurality of disparate and elusive horizons. We must go forth and oscillate!

Dada Manifesto (1916, Hugo Ball)


“Dada is a new tendency in art. One can tell this from the fact that until now nobody knew anything about it, and tomorrow everyone in Zurich will be talking about it. Dada comes from the dictionary. It is terribly simple. In French it means “hobby horse”. In German it means “good-bye”, “Get off my back”, “Be seeing you sometime”. In Romanian: “Yes, indeed, you are right, that’s it. But of course, yes, definitely, right”. And so forth.

An International word. Just a word, and the word a movement. Very easy to understand. Quite terribly simple. To make of it an artistic tendency must mean that one is anticipating complications. Dada psychology, dada Germany cum indigestion and fog paroxysm, dada literature, dada bourgeoisie, and yourselves, honoured poets, who are always writing with words but never writing the word itself, who are always writing around the actual point. Dada world war without end, dada revolution without beginning, dada, you friends and also-poets, esteemed sirs, manufacturers, and evangelists. Dada Tzara, dada Huelsenbeck, dada

m’dada, dada m’dada dada mhm, dada dera dada, dada Hue, dada Tza.

How does one achieve eternal bliss? By saying dada. How does one become famous?

By saying dada. With a noble gesture and delicate propriety. Till one goes crazy. Till one loses consciousness. How can one get rid of everything that smacks of journalism, worms, everything nice and right, blinkered, moralistic, europeanised, enervated? By saying dada. Dada is the world soul, dada is the pawnshop. Dada is the world’s best lily-milk soap. Dada Mr Rubiner, dada Mr Korrodi. Dada Mr Anastasius Lilienstein. In plain language: the hospitality of the Swiss is something to be profoundly appreciated. And in questions of aesthetics the key is quality.

I shall be reading poems that are meant to dispense with conventional language, no less, and to have done with it. Dada Johann Fuchsgang Goethe. Dada Stendhal. Dada Dalai Lama, Buddha, Bible, and Nietzsche. Dada m’dada. Dada mhm dada da. It’s a question of connections, and of loosening them up a bit to start with. I don’t want words that other people have invented. All the words are other people’s inventions. I want my own stuff, my own rhythm, and vowels and consonants too, matching the rhythm and all my own. If this pulsation is seven yards long, I want words for it that are seven yards long. Mr Schulz’s words are only two and a half centimetres long.

It will serve to show how articulated language comes into being. I let the vowels fool around. I let the vowels quite simply occur, as a cat meows … Words emerge, shoulders of words, legs, arms, hands of words. Au, oi, uh. One shouldn’t let too many words out. A line of poetry is a chance to get rid of all the filth that clings to this accursed language, as if put there by stockbrokers’ hands, hands worn smooth by coins. I want the word where it ends and begins.

Dada is the heart of words.

Each thing has its word, but the word has become a thing by itself. Why shouldn’t I find it? Why can’t a tree be called Pluplusch, and Pluplubasch when it has been raining? The word, the word, the word outside your domain, your stuffiness, this laughable impotence, your stupendous smugness, outside all the parrotry of your self-evident limitedness. The word, gentlemen, is a public concern of the first importance.”

Manifest To Make Social Design Fly
Master Graphic Design St Joost

- Begin anywhere or begin somewhere. A project can and should emerge out of personal interests and beliefs. Find an inspirational context and connect with people that share common goals and not necessarily common views on the matter.

- Social Design is about working with people, and everything that goes with that. So be ready to let go of controlled plans, don’t be afraid of the apparent chaos and recheck your views as the project evolves.

- Social Design offers facilities that promote and expand on the networking capabilities of the people involved (both on- and offline).

- Social Design should actively aim to be outreaching to outsiders, looking to expand itself by tapping into new disciplines, sectors, skills and knowledge.

- Everybody should be able to tap into the project. There should be no ‘job offer’-like situations involved (i.e. Social Design should look in all directions: 360 degrees involvement: bottom up + top-down + sideways).

- Active participation in Social Design is required at all times from everybody involved.

- Social Design should look to build an active community around it’s projects.

Ik vond het erg leuk dat we ons ook gingen verdiepen in 'Dogma 95' ik kende de film 'Festen' en daardoor wist ik van het bestaan van Dogma 95 af. Ik weet nog goed dat ik de film gezien had en versteld vond van alle regels die ze hanteerde en het nog zo sterk tot uiting kwam. Het gaf de film echt iets extras.

Dogma 95
Lars von Trier, Thomas Vinterberg 1995

1 Opnames dienen op locatie plaats te vinden. Rekwisieten en decors mogen niet worden toegevoegd (als een bepaald rekwisiet noodzakelijk is voor het verhaal, moet een locatie worden gekozen waar dit rekwisiet aanwezig is).

2 Geluid dient nooit los van de beelden te worden gemaakt, of andersom. (Muziek mag niet worden gebruikt, tenzij aanwezig waar de scène wordt gefilmd.)

3 De camera dient in de hand te worden gehouden. Elke beweging of fixatie die uit de hand kan worden bereikt is toegestaan. (De film dient niet plaats te vinden waar de camera staat, schieten dient plaats te vinden waar de film plaatsvindt.)

4 De film dient in kleur te zijn. Speciale belichting is niet toegestaan. (Als er te weinig licht is, moet de scène worden afgebroken of dient een enkele lamp aan de camera te worden bevestigd.)

5 Optische effecten en filters zijn verboden.

6 De film mag geen oppervlakkige actie bevatten. (Moorden, wapens etc. dienen niet voor te komen.)

7 Vervreemding in tijd en plaats is verboden. (Dat wil zeggen dat de film plaatsvindt in het hier en nu.)

8 Genrefilms zijn niet toegestaan.

9 Het filmformaat is Academy 35 mm.

10 De filmregisseur wordt niet genoemd op de aftiteling.