Manifestos Thread
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First Things First 1964
a manifestoWe, the undersigned, are graphic designers, photographers and students who have been brought up in a world in which the techniques and apparatus of advertising have persistently been presented to us as the most lucrative, effective and desirable means of using our talents. We have been bombarded with publications devoted to this belief, applauding the work of those who have flogged their skill and imagination to sell such things as:
cat food, stomach powders, detergent, hair restorer, striped toothpaste, aftershave lotion, beforeshave lotion, slimming diets, fattening diets, deodorants, fizzy water, cigarettes, roll-ons, pull-ons and slip-ons.
By far the greatest effort of those working in the advertising industry are wasted on these trivial purposes, which contribute little or nothing to our national prosperity.
In common with an increasing numer of the general public, we have reached a saturation point at which the high pitched scream of consumer selling is no more than sheer noise. We think that there are other things more worth using our skill and experience on. There are signs for streets and buildings, books and periodicals, catalogues, instructional manuals, industrial photography, educational aids, films, television features, scientific and industrial publications and all the other media through which we promote our trade, our education, our culture and our greater awareness of the world.
We do not advocate the abolition of high pressure consumer advertising: this is not feasible. Nor do we want to take any of the fun out of life. But we are proposing a reversal of priorities in favour of the more useful and more lasting forms of communication. We hope that our society will tire of gimmick merchants, status salesmen and hidden persuaders, and that the prior call on our skills will be for worthwhile purposes. With this in mind we propose to share our experience and opinions, and to make them available to colleagues, students and others who may be interested.
signed:
Edward Wright
Geoffrey White
William Slack
Caroline Rawlence
Ian McLaren
Sam Lambert
Ivor Kamlish
Gerald Jones
Bernard Higton
Brian Grimbly
John Garner
Ken Garland
Anthony Froshaug
Robin Fior
Germano Facetti
Ivan Dodd
Harriet Crowder
Anthony Clift
Gerry Cinamon
Robert Chapman
Ray Carpenter
Ken Briggs
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Situationist Manifesto:
THE EXISTING FRAMEWORK cannot subdue the new human force that is increasing day by day alongside the irresistible development of technology and the dissatisfaction of its possible uses in our senseless social life.
Alienation and oppression in this society cannot be distributed amongst a range of variants, but only rejected en bloc with this very society. All real progress has clearly been suspended until the revolutionary solution of the present multiform crisis.
What are the organizational perspectives of life in a society which authentically "reorganizes production on the basis of the free and equal association of the producers"? Work would more and more be reduced as an exterior necessity through the automation of production and the socialization of vital goods, which would finally give complete liberty to the individual. Thus liberated from all economic responsibility, liberated from all the debts and responsibilities from the past and other people, humankind will exude a new surplus value, incalculable in money because it would be impossible to reduce it to the measure of waged work. The guarantee of the liberty of each and of all is in the value of the game, of life freely constructed. The exercise of this ludic recreation is the framework of the only guaranteed equality with non-exploitation of man by man. The liberation of the game, its creative autonomy, supersedes the ancient division between imposed work and passive leisure.
The church has already burnt the so-called witches to repress the primitive ludic tendencies conserved in popular festivities. Under the existing dominant society, which produces the miserable pseudo-games of non-participation, a true artistic activity is necessarily classed as criminality. It is semi-clandestine. It appears in the form of scandal.
So what really is the situation? It's the realization of a better game, which more exactly is provoked by the human presence. The revolutionary gamesters of all countries can be united in the Situationist International. to commence the emergence from the prehistory of daily life.
Henceforth, we propose an autonomous organization of the producers of the new culture, independent of the political and union organizations which currently exist, as we dispute their capacity to organize anything other than the management of that which already exists.
From the moment when this organization leaves the initial experimental stage for its first public campaign, the most urgent objective we have ascribed to it is the seizure of U.N.E.S.C.O. United at a world level, the bureaucratization of art and all culture is a new phenomenon which expresses the deep inter-relationship of the social systems co-existing in the world on the basis of eclectic conservation and the reproduction of the past. The riposte of the revolutionary artists to these new conditions must be a new type of action. As the very existence of this managerial concentration of culture, located in a single building, favors a seizure by way of putsch; and as the institution is completely destitute of any sensible usage outside our subversive perspective, we find our seizure of this apparatus justified before our contemporaries. And we will have it. We are resolved to take over U.N.E.S.C.O., even if only for a short time, as we are sure we would quickly carry out work which would prove most significant in the clarification of a long series of demands.
What would be the principle characteristics of the new culture and how would it compare with ancient art?
Against the spectacle, the realized situationist culture introduces total participation.
Against preserved art, it is the organization of the directly lived moment.
Against particularized art, it will be a global practice with a bearing, each moment, on all the usable elements. Naturally this would tend to collective production which would be without doubt anonymous (at least to the extent where the works are no longer stocked as commodities, this culture will not be dominated by the need to leave traces.) The minimum proposals of these experiences will be a revolution in behavior and a dynamic unitary urbanism capable of extension to the entire planet, and of being further extensible to all habitable planets.
Against unilateral art, situationist culture will be an art of dialogue, an art of interaction. Today artists - with all culture visible - have been completely separated from society, just as they are separated from each other by competition. But faced with this impasse of capitalism, art has remained essentially unilateral in response. This enclosed era of primitivism must be superseded by complete communication.
At a higher stage, everyone will become an artist, i.e., inseparably a producer-consumer of total culture creation, which will help the rapid dissolution of the linear criteria of novelty. Everyone will be a situationist so to speak, with a multidimensional inflation of tendencies, experiences, or radically different "schools" - not successively, but simultaneously.
We will inaugurate what will historically be the last of the crafts. The role of amateur-professional situationist - of anti-specialist - is again a specialization up to the point of economic and mental abundance, when everyone becomes an "artist," in the sense that the artists have not attained the construction of their own life. However, the last craft of history is so close to the society without a permanent division of labor, that when it appeared amongst the S.I., its status as a craft was generally denied.
To those who don't understand us properly, we say with an irreducible scorn: "The situationists of which you believe yourselves perhaps to be the judges, will one day judge you. We await the turning point which is the inevitable liquidation of the world of privation, in all its forms. Such are our goals, and these will be the future goals of humanity."
17 May 1960
- ad10
THE STUCKISTS (est. 1999)
Against conceptualism, hedonism and the cult of the ego-artist.
Stuckism is the quest for authenticity. By removing the mask of cleverness and admitting where we are, the Stuckist allows him/herself uncensored expression.
Painting is the medium of self-discovery. It engages the person fully with a process of action, emotion, thought and vision, revealing all of these with intimate and unforgiving breadth and detail.
Stuckism proposes a model of art which is holistic. It is a meeting of the conscious and unconscious, thought and emotion, spiritual and material, private and public. Modernism is a school of fragmentation — one aspect of art is isolated and exaggerated to detriment of the whole. This is a fundamental distortion of the human experience and perpetrates an egocentric lie.
Artists who don’t paint aren’t artists.
Art that has to be in a gallery to be art isn’t art.
The Stuckist paints pictures because painting pictures is what matters.
The Stuckist is not mesmerised by the glittering prizes, but is wholeheartedly engaged in the process of painting. Success to the Stuckist is to get out of bed in the morning and paint.
It is the Stuckist’s duty to explore his/her neurosis and innocence through the making of paintings and displaying them in public, thereby enriching society by giving shared form to individual experience and an individual form to shared experience.
The Stuckist is not a career artist but rather an amateur (amare, Latin, to love) who takes risks on the canvas rather than hiding behind ready-made objects (e.g. a dead sheep). The amateur, far from being second to the professional, is at the forefront of experimentation, unencumbered by the need to be seen as infallible. Leaps of human endeavour are made by the intrepid individual, because he/she does not have to protect their status. Unlike the professional, the Stuckist is not afraid to fail.
Painting is mysterious. It creates worlds within worlds, giving access to the unseen psychological realities that we inhabit. The results are radically different from the materials employed. An existing object (e.g. a dead sheep) blocks access to the inner world and can only remain part of the physical world it inhabits, be it moorland or gallery. Ready-made art is a polemic of materialism.
Post Modernism, in its adolescent attempt to ape the clever and witty in modern art, has shown itself to be lost in a cul-de-sac of idiocy. What was once a searching and provocative process (as Dadaism) has given way to trite cleverness for commercial exploitation. The Stuckist calls for an art that is alive with all aspects of human experience; dares to communicate its ideas in primeval pigment; and possibly experiences itself as not at all clever!
Against the jingoism of Brit Art and the ego-artist. Stuckism is an international non-movement.
Stuckism is anti ‘ism’. Stuckism doesn’t become an ‘ism’ because Stuckism is not Stuckism, it is stuck!
Brit Art, in being sponsored by Saachis, main stream conservatism and the Labour government, makes a mockery of its claim to be subversive or avant-garde.
The ego-artist’s constant striving for public recognition results in a constant fear of failure. The Stuckist risks failure wilfully and mindfully by daring to transmute his/her ideas through the realms of painting. Whereas the ego-artist’s fear of failure inevitably brings about an underlying self-loathing, the failures that the Stuckist encounters engage him/her in a deepening process which leads to the understanding of the futility of all striving. The Stuckist doesn’t strive — which is to avoid who and where you are — the Stuckist engages with the moment.
The Stuckist gives up the laborious task of playing games of novelty, shock and gimmick. The Stuckist neither looks backwards nor forwards but is engaged with the study of the human condition. The Stuckists champion process over cleverness, realism over abstraction, content over void, humour over wittiness and painting over smugness.
If it is the conceptualist’s wish to always be clever, then it is the Stuckist’s duty to always be wrong.
The Stuckist is opposed to the sterility of the white wall gallery system and calls for exhibitions to be held in homes and musty museums, with access to sofas, tables, chairs and cups of tea. The surroundings in which art is experienced (rather than viewed) should not be artificial and vacuous.
Crimes of education: instead of promoting the advancement of personal expression through appropriate art processes and thereby enriching society, the art school system has become a slick bureaucracy, whose primary motivation is financial. The Stuckists call for an open policy of admission to all art schools based on the individual’s work regardless of his/her academic record, or so-called lack of it.
We further call for the policy of entrapping rich and untalented students from at home and abroad to be halted forthwith.
We also demand that all college buildings be available for adult education and recreational use of the indigenous population of the respective catchment area. If a school or college is unable to offer benefits to the community it is guesting in, then it has no right to be tolerated.
Stuckism embraces all that it denounces. We only denounce that which stops at the starting point — Stuckism starts at the stopping point!
Billy Childish
Charles Thomson4.8.99
The following have been proposed to the Bureau of Inquiry for possible inclusion as Honorary Stuckists:
Katsushika Hokusai
Utagawa Hiroshige
Vincent van Gogh
Edvard Munch
Karl Schmidt-Rotluff
Max Beckman
Kurt Schwitters
- GreedoLives0
(The signatories of this
manifesto live in France,
America, Spain, Germany,
Italy, Switzerland,
Belgium, etc. but have
no nationality.)DADA EXCITES EVERYTHING
DADA knows everything. DADA spits everything out.
BUT . . . . . . . . .
HAS DADA EVER SPOKEN TO YOU:
about Italy
about accordions
about women's pants
about the fatherland
about sardines
about Fiume
about Art (you exaggerate my friend)
about gentleness
about D'Annunzio
what a horror
about heroism
about mustaches
about lewdness
about sleeping with Verlaine
about the ideal (it's nice)
about Massachusetts
about the past
about odors
about salads
about genius, about genius, about genius
about the eight-hour day
about the Parma violetsNEVER NEVER NEVER
DADA doesn't speak. DADA has no fixed idea. DADA doesn't catch flies.
THE MINISTRY IS OVERTURNED. BY WHOM?
BY DADA
The Futurist is dead. Of What? Of DADA
A Young girl commits suicide. Because of What? DADA
The spirits are telephoned. Who invented it? DADA
Someone walks on your feet. It's DADA
If you have serious ideas about life,
If you make artistic discoveries
and if all of a sudden your head begins to crackle with laughter,
If you find all your ideas useless and ridiculous, know thatIT IS DADA BEGINNING TO SPEAK TO YOU
cubism constructs a cathedral of artistic liver paste
WHAT DOES DADA DO?
expressionism poisons artistic sardines
WHAT DOES DADA DO?
simultaneism is still at its first artistic communion
WHAT DOES DADA DO?
futurism wants to mount in an artistic lyricism-elevator
WHAT DOES DADA DO?
unanism embraces allism and fishes with an artistic line
WHAT DOES DADA DO?
neo-classicism discovers the good deeds of artistic art
WHAT DOES DADA DO?
paroxysm makes a trust of all artistic cheeses
WHAT DOES DADA DO?
ultraism recommends the mixture of these seven artistic things
WHAT DOES DADA DO?
creationism vorticism imagism also propose some artistic recipes
WHAT DOES DADA DO?WHAT DOES DADA DO?
50 francs reward to the person who finds the best
way to explain DADA to usDada passes everything through a new net.
Dada is the bitterness which opens its laugh on all that which has been made consecrated forgotten in our language in our brain in our habits.
It says to you: There is Humanity and the lovely idiocies which have made it happy to this advanced ageDADA HAS ALWAYS EXISTED
THE HOLY VIRGIN WAS ALREADY A DADAISTDADA IS NEVER RIGHT
Citizens, comrades, ladies, gentlemen
Beware of forgeries!
Imitators of DADA want to present DADA in an artistic form which it has never had
CITIZENS,
You are presented today in a pornographic form, a vulgar and baroque spirit which is not the PURE IDIOCY claimed by DADA
BUT DOGMATISM AND PRETENTIOUS IMBECILITY
Paris January 12, 1921
E. Varèse, Tr. Tzara, Ph. Soupault,
Soubeyran, J. Rigaut, G. Ribe-
mont-Dessaignes, M. Ray, F. Pi-
cabia, B. Péret, C. Pausaers
R.Hülsenbeeks, J. Evola, M. Ernst,
P. Eluard, Suz. Duchamp, M. Du-
champ, Crotti, G. Cantarelli, Marg.
Buffet, Gab. Buffet, A. Breton
Baargeld, Arp., W. C. Arensberg,
L. Aragon
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The Black Panther Party Platform
(October 1966)What We Want
What We Believe1. We want freedom. We want power to determine the destiny of our Black Community.
We believe that black people will not be free until we are able to determine our destiny.2. We want full employment for our people.
We believe that the federal government is responsible and obligated to give every man employment or a guaranteed income. We believe that if the white American businessmen will not give full employment, then the means of production should be taken from the businessmen and placed in the community so that the people of the community can organize and employ all of its people and give a high standard of living.3. We want an end to the robbery by the white man of our Black Community.
We believe that this racist government has robbed us and now we are demanding the overdue debt of forty acres and two mules. Forty acres and two mules was promised 100 years ago as restitution for slave labor and mass murder of black people. We will accept the payment as currency which will be distributed to our many communities. The Germans are now aiding the Jews in Israel for the genocide of the Jewish people. The Germans murdered six million Jews. The American racist has taken part in the slaughter of over twenty million black people; therefore, we feel that this is a modest demand that we make.4. We want decent housing, fit for shelter of human beings.
We believe that if the white landlords will not give decent housing to our black community, then the housing and the land should be made into cooperatives so that our community, with government aid, can build and make decent housing for its people.5. We want education for our people that exposes the true nature of this decadent American society. We want education that teaches us our true history and our role in the present-day society.
We believe in an educational system that will give to our people a knowledge of self. If a man does not have knowledge of himself and his position in society and the world, then he has little chance to relate to anything else.6. We want all black men to be exempt from military service.
We believe that Black people should not be forced to fight in the military service to defend a racist government that does not protect us. We will not fight and kill other people of color in the world who, like black people, are being victimized by the white racist government of America. We will protect ourselves from the force and violence of the racist police and the racist military, by whatever means necessary.7. We want an immediate end to police brutality and murder of black people.
We believe we can end police brutality in our black community by organizing black self-defense groups that are dedicated to defending our black community from racist police oppression and brutality. The Second Amendment to the Constitution of the United States gives a right to bear arms. We therefore believe that all black people should arm themselves for self defense.8. We want freedom for all black men held in federal, state, county and city prisons and jails.
We believe that all black people should be released from the many jails and prisons because they have not received a fair and impartial trial.9. We want all black people when brought to trial to be tried in court by a jury of their peer group or people from their black communities, as defined by the Constitution of the United States.
We believe that the courts should follow the United States Constitution so that black people will receive fair trials. The 14th Amendment of the U.S. Constitution gives a man a right to be tried by his peer group. A peer is a person from a similar economic, social, religious, geographical, environmental, historical and racial background. To do this the court will be forced to select a jury from the black community from which the black defendant came. We have been, and are being tried by all-white juries that have no understanding of the "average reasoning man" of the black community.10. We want land, bread, housing, education, clothing, justice and peace. And as our major political objective, a United Nations-supervised plebiscite to be held throughout the black colony in which only black colonial subjects will be allowed to participate for the purpose of determining the will of black people as to their national destiny.
When in the course of human events, it becomes necessary for one people to dissolve the political bands which have connected them with another, and to assume, among the powers of the earth, the separate and equal station to which the laws of nature and nature's God entitle them, a decent respect to the opinions of mankind requires that they should declare the causes which impel them to the separation.We hold these truths to be self evident, that all men are created equal; that they are endowed by their Creator with certain unalienable rights; that among these are life, liberty, and the pursuit of happiness. That, to secure these rights, governments are instituted among men, deriving their just powers from the consent of the governed; that, whenever any form of government becomes destructive of these ends, it is the right of the people to alter or to abolish it, and to institute a new government, laying its foundation on such principles, and organizing its powers in such form, as to them shall seem most likely to effect their safety and happiness. Prudence, indeed, will dictate that governments long established should not be changed for light and transient causes; and accordingly, all experience hath shown, that mankind are more disposed to supper, while evils are sufferable, than to right themselves by abolishing the forms to which they are accustomed. But, when a long train of abuses and usurpations, pursuing invariable the same object, evinces a design to reduce them under absolute despotism, it is their right, it is their duty, to throw off such government, and to provide new guards for their future security.
- GreedoLives0
This one's too long to post, but it is very exciting (i think)
Futurist Manifesto
http://cscs.umich.edu/~crshalizi…
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This is a cool one, thanks Greedo
MANIFESTO OF FUTURISM
1 We want to sing the love of danger, the habit of energy and rashness.
2 The essential elements of our poetry will be courage, audacity and revolt.
3 Literature has up to now magnified pensive immobility, ecstasy and slumber. We want to exalt movements of aggression, feverish sleeplessness, the double march, the perilous leap, the slap and the blow with the fist.
4 We declare that the splendor of the world has been enriched by a new beauty: the beauty of speed. A racing automobile with its bonnet adorned with great tubes like serpents with explosive breath ... a roaring motor car which seems to run on machine-gun fire, is more beautiful than the Victory of Samothrace.
5 We want to sing the man at the wheel, the ideal axis of which crosses the earth, itself hurled along its orbit.
6 The poet must spend himself with warmth, glamour and prodigality to increase the enthusiastic fervor of the primordial elements.
7 Beauty exists only in struggle. There is no masterpiece that has not an aggressive character. Poetry must be a violent assault on the forces of the unknown, to force them to bow before man.
8 We are on the extreme promontory of the centuries! What is the use of looking behind at the moment when we must open the mysterious shutters of the impossible? Time and Space died yesterday. We are already living in the absolute, since we have already created eternal, omnipresent speed.
9 We want to glorify war - the only cure for the world - militarism, patriotism, the destructive gesture of the anarchists, the beautiful ideas which kill, and contempt for woman.
10 We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian cowardice.
11 We will sing of the great crowds agitated by work, pleasure and revolt; the multi-colored and polyphonic surf of revolutions in modern capitals: the nocturnal vibration of the arsenals and the workshops beneath their violent electric moons: the gluttonous railway stations devouring smoking serpents; factories suspended from the clouds by the thread of their smoke; bridges with the leap of gymnasts flung across the diabolic cutlery of sunny rivers: adventurous steamers sniffing the horizon; great-breasted locomotives, puffing on the rails like enormous steel horses with long tubes for bridle, and the gliding flight of aeroplanes whose propeller sounds like the flapping of a flag and the applause of enthusiastic crowds.
- clerk0
George Maciunas Fluxus Manifesto:
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- lowimpakt0
A Manifesto and anti-Manifesto for OUTER-ART
The Outer-Art movement means to make art as ugly as possible, as wrong as possible, or as bad as possible... and, generally speaking, as impossible as possible!
These are the (outer-)limits of all artistic schools and styles!
Of course it is easy to create bad art, everybody can. But to create the worst possible art is paradoxically very difficult... Because you may want to consider a work as 'wrong art', while the modern art experts would interpret it as... extraordinary(!)
Therefore "outer-art" is the result of a non-artistic intention. Hence, we paint (even) when we don't paint, we sculpture (even) when we don't sculpture.
I classify as "art" something which is behind art, due to the fact that what today is not considered "art", might be considered art tomorrow - as the art history tells us. And today's art might be rejected by tomorrow's fashion.
Also, what's bad for you, may be good for me, and reciprocally. This reflects the subjectivity in art.
Don't go with the crowd, don't go by the rules, but ignore them or go against;
although you need the necessary... craziness! Also, don't rely on petrified knowledge. Going against is better (although harder) and more original, than following it...
I am not upset if somebody denies my work, that is what I expect and demand. Better if people swear you than if they ignore you.
I dislike the arts (because I am a scientist), that's why I do arts!
The more you disregard the outer-art, the better.
I try to detest what anybody else loves, and reciprocally, I like what nobody else likes:
art in opposite sense, self-insufficient art, incommunicable art, useless art.
The Outer-Artist is an artist without knowing it.
Outer-Art is an un-artistic work, which implies the unconscious creation!
How I did it? Browsing my everyday notes book, where I scribble and smear my everyday tasks, I observed that some pages look like... art (paintings, drawings).
Why do I do this kind of outer-art? Because I am not able to do another kind of art! I am not talented for something else...
Outer-art is a movement for the people who have no talent in arts! [Paradoxically!] Even more, for people with anti-talent!
A work that, after has been destroyed and thrown away, is being retrieved from the waste basket.
This is not found art, but converted non-art into art.
[May we say found outer-art?]
The attitude counts.
For example, a page of mathematical thorny formulas may become a page of (outer-)art, or a page of chemistry with organic equations, or a biology drawing of the human cell, or a computer chart, or an engine design, etc.
Why not? Let's introduce science into art.
- I do not substitute outer-art for art, but I want to reveal the first one too - because 'de gustibus non disputandum'. The beautiful is hard to define. A Romanian proverb says that it is not beautiful what is beautiful, but it's beautiful what pleases me...
I want what I don't want, make what I don't make, and art what I don't art!
- If everybody could do it, why haven't anybody done and theorized it yet?
I see a fusion of art with outer-art and with all the cognitive (and in-cognitive) fields. There is no frontier among them...
However the real outer-art can be done by non-talented people (disqualified artists, human failures) only! [Non-talented people signify less than non-artists...] No brush, no canvas, no easel. Paint with your finger, your legs, with leaves, grass, and excrements, or everything that is blamed.
Art as a therapy: when I feel sad, mad, bad, I draw and paint. And I have no skills for this!
Pain-ting in turmoil and in uproar. I discharge my soul, and feel free. As I did in a political refugee camp in Turkey, and nobody carried about my (outer-)art and miserable situation... I don't pretend to be a painter, that's why I dare to paint(!)
I am an outer-artist.
Outer-Art is not Fluxus (based on non-art, which asserts that everything is art), neither Dada (which is against art), nor Found Art (which is based on found beauty). Outer-Art is outer-art! Which is based on ugliness, creation as detestable, awful, wicked, vile, abandoned, abominable, vicious, disgusting, spurious, rotten, grim as possible...
If Duchamp's Brut Art was art made by insane but consciously, Outer-Art is made by anti-talented people but uncounsciously.
Outer-Art is different from Yves Klein's nothingness ("le vide"); in Outer-Art there exists something. Outer-Art is not happenings, nor action, nor structuralism, nor minimalism, nor installation art.
All negative adjectives are cumulated in the outer-art:
- utterly awful and uninteresting art;
- disgusting, execrable, random art;
- outrageously execrable, failure art;
- garbage paintings: from crumpled, dirty, smeared, torn, ragged paper;
- using anti-colors and a-colors;
- naturalist paintings: from wick, spit, urine, feces, any waste matter;
- art by non-educated people and for people who know nothing about art!
- without effort at all, dumb art;
- frustrating, disappointing art;
- disestablished and misjudged art;
- discredited, ignored, lousy, stinky, hooted, chaotic, vain, lazy, inadequate art
(I had once misspelled "rat" instead of "art");
- creation in inverse style;
- pre-art; not non-art or anti-art, but a-painting, a-sculpture, a-photo, generally "a-art";
- art which is not art, or outer art which is art!
- obvious, premature, insignificant art;
- in-deterministic, incoherent, ununderstandable, dull, uneven art...
as made by any monkey!
If this theory is not right, it's all right. The trend is towards an upside-down art.
These reflect the art's crisis... It's actually the artistic movements' war!
It is alike attending a class of creative art or writing, where the instructor tells you how to do, but you do the opposite. Or study the previous artists' styles and do not follow them - but contradict, or at least avoid, their way.
These are for the state of the outer-art!
I hate arts, that's why I love 'em...
All negative adjectives are cumulated into outer-art:
- unrecognizable, obscure, unremarkable, syncopal art;
- para-art;
- deriding art expressing inanity and emptiness;
- strange, stupid, nerd art; the worst the better!
Because the modern man's lack of time, bombed with a torrent of information, unable to keep in touch, it is his need to rapidly read, write, paint, draw, sketch, art...
- art is over, outer-art takes over!
Let's struggle for awards for the worse creation.
Some people say that artists are a bunch of flakes, society's parasites. I'm an artist.
I'm not an artist, but an
(outer-)art critic. I'm a scientist (mathematician).
My "Outer-Art" album was destroyed by Brian Yoder, the moderator of the so-called "[goodart]" e-group, and his e-group members incited him to burned it (2001) - as I was informed by a friend. I am twice proud for it!!
All negative adjectives are cumulated in the outer-art:
- art which surpasses itself up to outer-art;
- outcast, increated art; the more controversial, the better!
for the demise of art;
- superficial art; aberrations; art retrieved from rubbish work;
- work with no respect for itself, neither for others;
- a hoax; terribly turpitude; this is an artistic syndrome;
- un-informative, inaccurate, bizarre, unaccomplished style;
We don't shoot down the previous art schools and movements;
breaking the rules, we then make our own rules, and afterwards we breaking these last rules too!
We try to unite them: all styles are good and bad in the same time.
- I paint how I don't feel like, against the common sense:
images that do no signify anything, do not represent anything, outside of any school or movement, without theme of sub-/ob-ject; drawings which should not be drawn;
- vacuous, unintelligent work;
Let's consider the sub-culture culture, and the contra-culture culture too.
Let's love the ugliness and present any crap as art. Crap done by cranks.
- inferior art;
- outer-art is a matter of non-taste;
- to draw without drawing, to paint without actually painting...
- the future of art is outer-art;
- guilty and sin art.
See how easy is to be modernist, postmodernist, ultramodernist... and even impostor in arts?!
What are the characteristics of this Outer-Art?
- to say that bad is good, deformed is not deformed, hideous is pretty, nonsense has a sense;
- to plead for an art with no restriction, without boundaries; infinite art;
- mis-art;
- creation in derision, in counter-sense;
- irrational and spiteful creation;
- waste, junk, filth art;
- superficial and unimpressive art;
a work which is unimpressive to you, reader, is very relevant to me;
- idiotic and stupid art;
- no laws in art, or anti-laws;
- to represent the worst of thing and everything;
- a dogma against other dogmas;
- art as a miscarriage;
- mad art; self-incriminating art;
- to find the meaning of this meaningless art;
And discuss what's healthy in this sick art!
- uncontrolled art;
- weak and unexpressive art, which doesn't reach the soul, from creators (better to say non-creators!) with no imagination, slime art;
- idle art;
- art behind art's frontiers!
- rogues art;
- art with no value; non-persuasive art done by un-experienced people;
- outlaw art; not-artistic art; outer-artistic art;
- art which violates art;
- art without form, without content;
- painting / drawing / sculpturing non-objects, non-ideas, non-feelings;
- distorted and blinded and bruised and confused and tangled work; like unharmonious music;
- push the art behind its endurance; push the art outside of itself;
- art's self-accusation; artistic mis-use;
- work of blind and armless artists;
- no structure, no order, no principles!
No subject!
- disingenuous, unemotional, antihuman art;
- no graceful in art; weak art; disastrous art; disagreeable;
- chucking work;
- silly art; discredited, convoluted, anti-quality, unsatisfying, paranoid, controversional work; the worst of the worst! Because nobody cares about art!
- alterations, vapid, incompetent, hatred work;
- extrinsic, not intrinsic, value;
- odd, quirky, peculiar work;
Transform the ill-made into well-made.
Broke down the creation to look terrible!
Let's defend questionable theory by tiresome the(r)orists in/out-art!
Arts are enemies and friends to each other; their frontiers are interpenetrated - we are not able to distinguish among domains and styles and even types of art anymore!
I painted one page with my own... blood...
licking from my bleeding nose. It is not a metaphor, but the truth. I suffer from nose bleeding since I was a child, and no doctor could fix it. One told me that this is... good, because my blood is renewing by itself, keeping me... healthy! Then I transformed my anomaly into a... God gift for
arts. Thus, I am a natural painter.
Yes, all negative adjectives are cumulated in the outer-art:
- to deform the art;
- tantrums; ravings;
- invalid and inarticulate, feeble, unexpressive, insignificant art;
- unperceived art;
Art is anything and nothing, some art experts said.
- evil, vacuum, revolting, ambiguous;
- pseudo-art, spewing art;
- bad boys' art!
- dead end work!
It is not possible to bring anything new because everything is obsolete, the modern is old-fashion.
It doesn't exist good or bad art, but pleasured or un-pleasured art
in the eyes of influential critics or magazines.
Failure means success. Success doesn't mean success.
Outer-artists do not incite to abandon or destroy art, but to have the interior includes the exterior and vice-versa. After a while, outer-art would become inner-art.
I wouldn't bother by anybody's disrespectful thinking about my outer-creation, it was expected for this style, and I sometimes like the invectives addressed to me... It is a paradoxical way of appreciation, isn't it? I do not accuse anybody, it's normal to be reluctant to outer-art. Despite your criticisms, readers, I love you, shouldn't I?
I seek the experiments, and despite the former vanguardists were sworn at their times, later the world accepted their ideas.
My outer-art work is somehow chaotic, random, precious, bombastic, singular, strange, even with errors of grammar (don't forget that in one of my manifestos I wrote about the emigrant's broken English language in America!). Because what's considered incorrect today, might be retaken as correct tomorrow. [For example, the incorrect Latin language spoken by various populations in antiquity became the correct modern Romance languages.]
It has many detestable attributes, but doesn't mean it shouldn't be given attention. Let's give a nice look to rude things and reciprocally: opposite interpretation to very positive things.
How to write the theory of a bad theory?
- use unprofessionals or semiprofessionals;
- reverse thinking: such as, for example, progression is regression, great is weak, etc.;
- plagiarize the plagiarists;
- be an outsider, act different, art different;
- deform and disturb the arts; but do an exact deformation;
- to create means not to create;
- when one doesn't do art, then one does art;
- learn to like what you normally dislike, I mean the outer-art;
- feel good about sour things;
- get the right side from the malign form.
I teach you how not to paint, and generally how not to art!
If we plead for outer-art, then what kind of creation to do?:
- littering; trash; evil; unsolicited art work;
- self-destructing work; deteriorated work; art hating art;
- rude, futile, obvious, poor art;
- compose disliked, misunderstood, marginalized art;
- ramblings;
- outer-art-ism;
- art below and above art;
- distorted and overlapped images;
- scratches, wipings, simple pages, documents, writings for drawings and paintings:
as a structureless structure;
- artists without art (work);
- incomplete art;
- outer-art without intrinsec formal or conceptual qualities;
- anarchy; chaos theory and catastrophes' theory of arts;
- introduce into art the anti-art, non-art, and outer-art;
- outer-art encompasses a part of any movement and style: like a hybrid;
- incompatible, obscured, and suppressed worthless;
- nasty, scorn, self-rejected art;
- discarded, self-admittedly wrongdoing.
This should be our unusual (upside-down theory). A meta-art.
Why this outer-art? Because it DOES exist in the nature! No matter if we appreciate it or not, the outer-art is part and parcel from the world.
Please, tolerate the outer-art...
Outer-artists like anti-publicity, they even look for it; the worse the better! We are proud of being odious and of committing errors!
Again, all the negative adjectives are cumulated in the outer-art:
- art without art; outer-art art; art behind )and ahead( art;
- reconsideration of art;
- behind the academic artistic definitions, concepts, theories and anti-theories;
- provocative art;
- residual art, in-formal art, un-famous art;
- pre-art and post-art!
- creation feeling bad about itself;
- incomprehensible art;
- outer-artistic behaviour;
- oeuvre of outer-art;
- work that tells you all and nothing;
- decoherent work;
- exhibitions without exhibitions;
- aesthetic of inaesthetic;
- harassment of the artistic works;
- utter bullshit art;
- rudimentary; gullible; atrocious;
- self non-taught artists; I am a non-wanna be artist;
- art with many mistakes;
- unpretentious, vulnerable, egregiously rubbish work;
- like a fossil;
- your comments should really make me filling bad....
- lurked art (find it!); carelessly made work; ignorant;
- somehow invisible art work!
- self-destructive art work;
- artists who do art are not artists;
- you feel you don't understand what you in reality understand;
- it's like swearing someone with a nice voice (as having said "I love you")!
- the opposite ideas and styles may be true simultaneously;
People on the street laugh at you it you tell them you're a painter or poet for example.
I am an outsider artist.
- sterile and vacuous art;
- risky work;
- exhausted art;
- art in pact with the devil;
- broken and cut canvas, pictures;
- looking for public antirecognition and disapproval and contempt;
- paintings for daltonists (green instead of red, etc.);
- we benefit from anti-audience;
Like in a competition where you are the only candidate, but win the second place!
- gallery with nothing inside: empty frames, upside-down portraits, dust, broken glass;
or the frames painted only - not the canvas inside;
- not-started and unfinished art work;
- perverse, alternative art;
- heterogeneous work.
Let's turn what is business into art!
- art that makes a laughing-stock of itself and lay its (outer-)creators on the gridiron;
- art of no significance and no value;
- ridiculous and self-discredited and in derision art;
- art without name, without style.
Be aware about these unaware artistic forms.
I know how not to paint and not to sculpture and not to art. Do you too?
Look at the beauty of arts-in-bad (questionable)-taste!:
- offensive, crude, insulting, repulsive, inaesthetic art;
- conflicting views/images, ideas;
- blatant nonsense; pervasive;
- not anti-intellectualism but non-intellectualism;
- unskilled artists, without mentality;
- unperceived; disrespectful art;
- confusional art;
- a-literature, a-painting, a-drawing...
non-painting painting;
- amateurish work by professionists;
- poisoning ideas; controversial art;
- artistic absolute freedom, no censorship;
- use the technique of not-knowing-how-to-paint paintings;
The attitude counts; for example, the car's noise can be presented as music for example; this is outer-music (music behind music)!
- muddy art;
- irritation art;
- unconvincing art;
- imperfect as much as possible;
- delirious art;
- abused art!
- art without credibility;
- mindless, boring art;
- art ashamed of itself;
- sinful, dissolute, degraded, wicked, miserable beaux-arts!
- metamorphosis of outer-art into art the time to come; watch it!
- outer-exhibition, outer-gallery;
- outer-museums and outer-art schools.
And let's end up with outer-art vs. outer-art! [an auto-contradiction]... Outer-Art should deliberately be the worst movement of all!
Therefore, I eventually pray you not to like my work!
Outer-Artistically unfriendly and regretfully,
Dr. Florentin Smarandache
PS: Outer-Biography:
FS is single. Didn't marry Mis(s) Art, because he didn't trust her.
FS is
FS is not
FS doesn't have a studio. His studio is the world.
Among all artists he's the only outer-artist. The more you dislike his work, the better his mission is accomplished.
FS doesn't have artistic talent, but anti-talent or a-talent...
FS doesn't sculpture because he is a sculpture himself.
FS reinvents the art by ignoring or hating it enormously, and thus re-considers the art into a continuously beginning status.
Do not attempt to understand his work, because this would not be agreeable to you.
Exhibitions where he didn't expose:
New York (1954), London (1820), Paris (2020), and many, many others.
- Bluejam0
Bruce Mau Design Inc.
An Incomplete Manifesto for Growth
Written in 1998, the Incomplete Manifesto is an articulation of statements that exemplify Bruce Mau's beliefs, motivations and strategies. It also articulates how the BMD studio works.
1. Allow events to change you. You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them.
2. Forget about good. Good is a known quantity. Good is what we all agree on. Growth is not necessarily good. Growth is an exploration of unlit recesses that may or may not yield to our research. As long as you stick to good you’ll never have real growth.
3. Process is more important than outcome. When the outcome drives the process we will only ever go to where we’ve already been. If process drives outcome we may not know where we’re going, but we will know we want to be there.
4. Love your experiments (as you would an ugly child). Joy is the engine of growth. Exploit the liberty in casting your work as beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day.
5. Go deep. The deeper you go the more likely you will discover something of value.
6. Capture accidents. The wrong answer is the right answer in search of a different question. Collect wrong answers as part of the process. Ask different questions.
7. Study. A studio is a place of study. Use the necessity of production as an excuse to study. Everyone will benefit.
8. Drift. Allow yourself to wander aimlessly. Explore adjacencies. Lack judgment. Postpone criticism.
9. Begin anywhere. John Cage tells us that not knowing where to begin is a common form of paralysis. His advice: begin anywhere.
10. Everyone is a leader. Growth happens. Whenever it does, allow it to emerge. Learn to follow when it makes sense. Let anyone lead.
11. Harvest ideas. Edit applications. Ideas need a dynamic, fluid, generous environment to sustain life. Applications, on the other hand, benefit from critical rigor. Produce a high ratio of ideas to applications.
12. Keep moving. The market and its operations have a tendency to reinforce success. Resist it. Allow failure and migration to be part of your practice.
13. Slow down. Desynchronize from standard time frames and surprising opportunities may present themselves.
14. Don’t be cool. Cool is conservative fear dressed in black. Free yourself from limits of this sort.
15. Ask stupid questions. Growth is fueled by desire and innocence. Assess the answer, not the question. Imagine learning throughout your life at the rate of an infant.
16. Collaborate. The space between people working together is filled with conflict, friction, strife, exhilaration, delight, and vast creative potential.
17. ——————————. Intentionally left blank. Allow space for the ideas you haven’t had yet, and for the ideas of others.
18. Stay up late. Strange things happen when you’ve gone too far, been up too long, worked too hard, and you’re separated from the rest of the world.
19. Work the metaphor. Every object has the capacity to stand for something other than what is apparent. Work on what it stands for.
20. Be careful to take risks. Time is genetic. Today is the child of yesterday and the parent of tomorrow. The work you produce today will create your future.
21. Repeat yourself. If you like it, do it again. If you don’t like it, do it again.
22. Make your own tools. Hybridize your tools in order to build unique things. Even simple tools that are your own can yield entirely new avenues of exploration. Remember, tools amplify our capacities, so even a small tool can make a big difference.
23. Stand on someone’s shoulders. You can travel farther carried on the accomplishments of those who came before you. And the view is so much better.
24. Avoid software. The problem with software is that everyone has it.
25. Don’t clean your desk. You might find something in the morning that you can’t see tonight.
26. Don’t enter awards competitions. Just don’t. It’s not good for you.
27. Read only left-hand pages. Marshall McLuhan did this. By decreasing the amount of information, we leave room for what he called our “noodle.”
28. Make new words. Expand the lexicon. The new conditions demand a new way of thinking. The thinking demands new forms of expression. The expression generates new conditions.
29. Think with your mind. Forget technology. Creativity is not device-dependent.
30. Organization = Liberty. Real innovation in design, or any other field, happens in context. That context is usually some form of cooperatively managed enterprise. Frank Gehry, for instance, is only able to realize Bilbao because his studio can deliver it on budget. The myth of a split between “creatives” and “suits” is what Leonard Cohen calls a 'charming artifact of the past.'
31. Don’t borrow money. Once again, Frank Gehry’s advice. By maintaining financial control, we maintain creative control. It’s not exactly rocket science, but it’s surprising how hard it is to maintain this discipline, and how many have failed.
32. Listen carefully. Every collaborator who enters our orbit brings with him or her a world more strange and complex than any we could ever hope to imagine. By listening to the details and the subtlety of their needs, desires, or ambitions, we fold their world onto our own. Neither party will ever be the same.
33. Take field trips. The bandwidth of the world is greater than that of your TV set, or the Internet, or even a totally immersive, interactive, dynamically rendered, object-oriented, real-time, computer graphic–simulated environment.
34. Make mistakes faster. This isn’t my idea — I borrowed it. I think it belongs to Andy Grove.
35. Imitate. Don’t be shy about it. Try to get as close as you can. You’ll never get all the way, and the separation might be truly remarkable. We have only to look to Richard Hamilton and his version of Marcel Duchamp’s large glass to see how rich, discredited, and underused imitation is as a technique.
36. Scat. When you forget the words, do what Ella did: make up something else ... but not words.
37. Break it, stretch it, bend it, crush it, crack it, fold it.
38. Explore the other edge. Great liberty exists when we avoid trying to run with the technological pack. We can’t find the leading edge because it’s trampled underfoot. Try using old-tech equipment made obsolete by an economic cycle but still rich with potential.
39. Coffee breaks, cab rides, green rooms. Real growth often happens outside of where we intend it to, in the interstitial spaces — what Dr. Seuss calls “the waiting place.” Hans Ulrich Obrist once organized a science and art conference with all of the infrastructure of a conference — the parties, chats, lunches, airport arrivals — but with no actual conference. Apparently it was hugely successful and spawned many ongoing collaborations.
40. Avoid fields. Jump fences. Disciplinary boundaries and regulatory regimes are attempts to control the wilding of creative life. They are often understandable efforts to order what are manifold, complex, evolutionary processes. Our job is to jump the fences and cross the fields.
41. Laugh. People visiting the studio often comment on how much we laugh. Since I’ve become aware of this, I use it as a barometer of how comfortably we are expressing ourselves.
42. Remember. Growth is only possible as a product of history. Without memory, innovation is merely novelty. History gives growth a direction. But a memory is never perfect. Every memory is a degraded or composite image of a previous moment or event. That’s what makes us aware of its quality as a past and not a present. It means that every memory is new, a partial construct different from its source, and, as such, a potential for growth itself.
43. Power to the people. Play can only happen when people feel they have control over their lives. We can’t be free agents if we’re not free.
- ********0
The Clinic of Decidedly Obscure Human Complaints, May 20th, 1997, Basement
Bulletin 7:
(Reported by Defected Underworld Spy, The Metallurgist)
Day 321
Either, you have deployed a spy exhibiting the highest order or stealth, or you have not deployed a spy at all. As we have no evidence of the former conclusion, I am forced to assume that no spy from the Upper world is currently in Underworld. This, of course, brings me to tears - tears of joy. Because, after three months of painstaking research, organization, and decision making, we have constructed a manifesto. It is called 'The Human Directive'. But, beware, this manifesto is a sensitive document purporting to express more than our mere political motivations and our ability to write credible political copy that will stand close scrutiny: it is the beating heart of a nation - it embodies the hopes and dreams of a persecuted civilization - it embodies the last attempt at a peaceful reconciliation of our differences.The Human Directive
The No Spy Clause
No reporters, observers, anthropologists etc., of any description should enter the Underworld unannounced.
Fresh food and water clause
The Underworld must receive regular dispatches of fresh food and water in order with that which is available to the average member of this clinic. Extracting water from sewer drainage pipes, and generic organic matter from refuse outlets including the disease ridden rats which graze on them, must be considered inhumane, and no longer acceptable.
Medical and Psychiatric Treatment Clause
The Underworld must receive regular medical and psychiatric attention in order with that which is available to the Upper world patients. This would involve the setting up of a twice weekly hospital area in the Underworld, to which we would allow the necessary medical staff access. We would also be given supplies of contraceptives, aspirins, paracetamol, and any other medicinal aids that can be purchased without prescription.
Sanitation Clause
A drainage system must be constructed in the Underworld. Along with this the Underworld must receive regular dispatches of disinfectant, antiseptic, detergent, soap, shampoo, toothpaste, washing powder, flannels, cloths, towels, portable baths and toilets
Clothing and Bedding Clause
Underworld must receive regular dispatches of clothing in order with that which is available to the state funded Upper world patient. We also require water proof mattresses and rubber boots, as the permanently flooded floor of the Underworld is causing our mattresses and feet to decompose.
Education Clause
We require full access to the Upper world library, ie:we will make requests for books, which will be dispatched to us, and which we will return within the specified period.
We await your response...
- GreedoLives0
A Surrealist Manifesto:
The Declaration of January 27, 1925With regard to a false interpretation of our enterprise, stupidly circulated among the public, We declare as follows to the entire braying literary, dramatic, philosophical, exegetical and even theological body of contemporary criticism:
We have nothing to do with literature; But we are quite capable, when necessary, of making use of it like anyone else,
Surrealism is not a new means or expression, or an easier one, nor even a metaphysic of poetry. It is a means of total liberation of the mind and of all that resembles it.
We are determined to make a Revolution.
We have joined the word surrealism to the word revolution solely to show the disinterested, detached, and even entirely desperate character of this revolution.
We make no claim to change the mores of mankind, but we intend to show the fragility of thought, and on what shifting foundations, what caverns we have built our trembling houses.
We hurl this formal warning to Society; Beware of your deviations and faux-pas, we shall not miss a single one.
At each turn of its thought, Society will find us waiting.
We are specialists in Revolt. There is no means of action which we are not capable, when necessary, of employing.
We say in particular to the Western world: surrealism exists. And what is this new ism that is fastened to us? Surrealism is not a poetic form. It is a cry of the mind turning back on itself, and it is determined to break apart its fetters, even if it must be by material hammers!Bureaus de Recherches Surréalistes,
15, Rue de GrenelleSigned: Louis Aragon, Antonin Artaud, Jacques Baron, Joë Bousquet, J.-A. Boiffard, André Breton, Jean Carrive, René Crevel, Robert Desnos, Paul Élaurd, Max Ernst, et al.
- liquid0
Another one got caught today, it's all over the papers. "Teenager
Arrested in Computer Crime Scandal", "Hacker Arrested after Bank Tampering"...
Damn kids. They're all alike.But did you, in your three-piece psychology and 1950's technobrain,
ever take a look behind the eyes of the hacker? Did you ever wonder what
made him tick, what forces shaped him, what may have molded him?
I am a hacker, enter my world...
Mine is a world that begins with school... I'm smarter than most of
the other kids, this crap they teach us bores me...
Damn underachiever. They're all alike.I'm in junior high or high school. I've listened to teachers explain
for the fifteenth time how to reduce a fraction. I understand it. "No, Ms.
Smith, I didn't show my work. I did it in my head..."
Damn kid. Probably copied it. They're all alike.I made a discovery today. I found a computer. Wait a second, this is
cool. It does what I want it to. If it makes a mistake, it's because I
screwed it up. Not because it doesn't like me...
Or feels threatened by me...
Or thinks I'm a smart ass...
Or doesn't like teaching and shouldn't be here...
Damn kid. All he does is play games. They're all alike.And then it happened... a door opened to a world... rushing through
the phone line like heroin through an addict's veins, an electronic pulse is
sent out, a refuge from the day-to-day incompetencies is sought... a board is
found.
"This is it... this is where I belong..."
I know everyone here... even if I've never met them, never talked to
them, may never hear from them again... I know you all...
Damn kid. Tying up the phone line again. They're all alike...You bet your ass we're all alike... we've been spoon-fed baby food at
school when we hungered for steak... the bits of meat that you did let slip
through were pre-chewed and tasteless. We've been dominated by sadists, or
ignored by the apathetic. The few that had something to teach found us will-
ing pupils, but those few are like drops of water in the desert.This is our world now... the world of the electron and the switch, the
beauty of the baud. We make use of a service already existing without paying
for what could be dirt-cheap if it wasn't run by profiteering gluttons, and
you call us criminals. We explore... and you call us criminals. We seek
after knowledge... and you call us criminals. We exist without skin color,
without nationality, without religious bias... and you call us criminals.
You build atomic bombs, you wage wars, you murder, cheat, and lie to us
and try to make us believe it's for our own good, yet we're the criminals.Yes, I am a criminal. My crime is that of curiosity. My crime is
that of judging people by what they say and think, not what they look like.
My crime is that of outsmarting you, something that you will never forgive me
for.I am a hacker, and this is my manifesto. You may stop this individual,
but you can't stop us all... after all, we're all alike.+++The Mentor+++
________________________________...
- Bluejam0
Me, The Undersigned
by Jessica Helfand
- GreedoLives0
The most depressing manifesto:
http://www.vbma.net/mission.html…
- ********0
The Unabomber Manifesto
