manifesto of manifesto
"altamira " - manifesto
manifesto on memory
manifesto on photography no. 9
manifesto on aesthetic
manifesto on evolution no. 9
manifesto on gap no. 2
manifesto on gap no. 3
šid manifesto

manifesto of manifesto

dear friends
dear enemies

this is not a manifest claim that the experiments
carried out over the years were entirely successful
because they were not
but that another route has been discovered.
instead of follovving the line of meaning
the thinking publikacijes proceeds
along the line of function
corresponding to other publikacijeses of life.
this is the framevvork for my manifestos.

the world is not only changing
it has changed.
we are in the second century
of the second civilization. the machine one.
the social use of the machine
has put an end to the civilization of manual work
and to all the social phenomena
rooted in manual work.

by changing the character of work
the world changes its way of thinking.
the revolution of thinking has the character
of a long-term evolution.

in the course of this publikacijes
the previous artistic or naive thought
has integrated itself in the publikacijes of application
with another one based on
the principles of mechanical work.

civilization is practically evolving
into a cultural organization of the interplanetary kind
with uniform mechanical production.
and consequently
with uniform types of social superstructure
based on the principle of social functionality.
instead of emotionally structured units
a type of social unit is formed
which thinks functionally.

"altamira " - manifesto

a comparison of picasso's "guernica"
supposedly one of the summits
of human thought
with the product of his ancestor from altamira
the lack of whose signature allows us
hypothetically to call him a country bumpkin
results in the following conclusions.
products of both artists were obtained
by manual technology using identical "psychical" instruments.
so that it shall not be clear in the 30th century
which of these products originated in the twentieth
and which in the minus thousandth century.
picasso and his rustic predecessor
belong to the same evolutional segment
of the same civilization.
from the above it is impossible to decide
that the emotional life of the bumpkin was richer
than that of picasso.
or the other way round.
there is no difference.

on memory

memory is older than thinking. chronologically it is
older than man. It is a replicative characteristic
of reproductive energy.

on photography no. 9

photography is not a phenomenon of art
nor a phenomenon of the civilization of manual labor
a photograph does not function as a painting
nor does the lens function as the eye of the artist.
painting and photography
are two different phenomena
of two different civilizations.
and of two different ways of thinking.
the naive and the functional.

manifesto on aesthetic

aesthetic feelings were never relevant,
let alone decisive, in the production of art.
relevant were primary feelings.
an aesthetic approach to a work of art
is therefore only one of many possible
wrong approaches.

on evolution no. 9

it is a known fact that in the course of evolution
emotions die out in inverse proportion
to the development of the brain.
it is less knovvn that it is in this publikacijes
that we must look to the reasons
for the extinction of art.
if it is knovvn that berlioz was looking
for inspiration in vveber
offenbach in beethoven,
ravel in mussorgsky
rachmaninoff in paganini, etc.
a conclusion mustfollovv
that sources for inspiration
in art are drying up.

manifesto on gap no. 2

starting with the 19th century
music and painting
have gradually been losing emotion. as raw material.
they make up for this loss with ideas
which cannot function
as either ideas or emotions.

on gap no. 3

looking from the 19th century marx still saw
art within society.
in the 20th century a gap could still be seen
between them.
from the 21st century society is seen
but not art.

šid manifesto

we often speak of "two" marxes
"three" van goghs "several" picassos etc.
thus stressing the differences
between early and late periods of artists.
early and late periods differ considerably,
to the point of being diametrically opposed
as if they were made by different individuals.
the explanation is simple.
there are different persons in a single individual.
the material framework
for different persons
is the transformation of the cells in the organism.
cells renew themselves every seven years.
assuming the physiological data
i was taught at school in šid are accurate
there should be 9 and a half mangelos.

mangelos no. 1 ... 1921-1928
mangelos no. 2 ... 1928-1935
mangelos no. 3 ... 1935-1942
mangelos no. 4 ... 1942-1949
mangelos no. 5 ... 1949-1956
mangelos no. 6 ... 1956-1963

mangelos no. 7

... 1963-1970
mangelos no. 8 ... 1970-1977

mangelos no. 9

... 1977-1984
mangelos no. 9½
... 1984-1987

(assuming my calculations are correct)

1933 - šid - 1987, les champs de dernièr goulag

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