Yndlings-Kirkeby-bog / yndlings-Kirkeby-tekst

Bog:

Billedforklaringer, Borgen Forlag, 1968


Tekst (fra samme bog - skrevet oven på Kirkeby-dis af Niels Barfoed i Vindrosen detournement-agtigt):

JEG ER EKLEKTIKER. MANIFEST

Jeg tager andres ting - i videste forstand . Jeg benytter mig af materialemylder, jeg lavetr mit eget system, jeg har mine egne modeller. Jeg plukker ud og samler - og udvælger. Mit system, der er et ægte system, konstitueres af private forkærligheder og kurisosumagtige sætinteresser og i hvert tilfælde noget mystisk. Jeg er romantisk og aristokratisk. Min kunst handler om kunst. Jeg skriver og maler på samme måde. Og jeg bruger kun mine egne modeller.

Manifestivitas

HER i gårsdagens AK24syv ævler jeg om futurisme og Marinetti og især Marinettis første futuristiske manifest fra 1909, med dets eksplicitte kvindehad - her er et klip fra Valerie de Saint Points "Den Kvindelige Futurists Manifest" fra 1912:

"It is absurd to divide humanity into men and women. It is composed only of femininity and masculinity. Every superman, every hero, no matter how epic, how much of a genius, or how powerful, is the prodigious expression of a race and an epoch only because he is composed at once of feminine and masculine elements, of femininity and masculinity: that is, a complete being.

Any exclusively virile individual is just a brute animal; any exclusively feminine individual is only a female.

It is the same way with any collectivity and any moment in humanity, just as it is with individuals. The fecund periods, when the most heroes and geniuses come forth from the terrain of culture in all its ebullience, are rich in masculinity and femininity.

Those periods that had only wars, with few representative heroes because the epic breath flattened them out, were exclusively virile periods; those that denied the heroic instinct and, turning toward the past, annihilated themselves in dreams of peace, were periods in which femininity was dominant.

We are living at the end of one of these periods. What is most lacking in women as in men is virility.

That is why Futurism, even with all its exaggerations, is right.

To restore some virility to our races so benumbed in femininity, we have to train them in virility even to the point of brute animality. But we have to impose on everyone, men and women who are equally weak, a new dogma of energy in order to arrive at a period of superior humanity.

Every woman ought to possess not only feminine virtues but virile ones, without which she is just a female. Any man who has only male strength without intuition is only a brute animal. But in the period of femininity in which we are living, only the contrary exaggeration is healthy: we have to take the brute animal for a model.

Enough of those women whose “arms with twining flowers resting on their laps on the morning of departure” should be feared by soldiers; women as nurses perpetuating weakness and age, domesticating men for their personal pleasures or their material needs! … Enough women who create children just for themselves, keeping them from any danger or adventure, that is, any joy; keeping their daughter from love and their son from war! … Enough of those women, the octopuses of the hearth, whose tentacles exhaust men’s blood and make children anemic, women in carnal love who wear out every desire so it cannot be renewed!

Women are Furies, Amazons, Semiramis, Joans of Arc, Jeanne Hachettes, Judith and Charlotte Cordays, Cleopatras, and Messalinas: combative women who fight more ferociously than males, lovers who arouse, destroyers who break down the weakest and help select through pride or despair, “despair through which the heart yields its fullest return:’Let the next wars bring forth heroines like that magnificent Catherine Sforza, who, during the sack of her city, watching from the ramparts as her enemy threatened the life of her son to force her surrender, heroically pointing to her sexual organ, cried loudly: “Kill him, I still have the mold to make some more!”"

(tjek også Valeries futuristiske Begærsmanifest)!

KM = MF!

KRITISK MANIFEST:

MANIFEST* KRITIK!

*II. manifest, adj. (af lat. manifestus; især fagl.)
håndgribelig; åbenbar. Moth.​Conv.​M31. manifeste, Adv. aabenbarligen, tydeligen. JBaden.​FrO. (intet) tydede paa, at hun var sindssyg, latent eller manifest. Højesteretstid.1890.47. Kristendommen med sin Fortrængning af det manifest sexuelle. FrieOrd.1946.158. manifest: aabenbar, givende sig til kende. Det modsatte af latent. PsykiatrO.(1950).67.
 
**
 
**
"A manifest or customs manifest or "cargo document" is a document listing the cargo, passengers, and crew of a ship, aircraft, or vehicle, for the use of customs and other officials. Where such a list is limited to identifying passengers, it is a passenger manifest or passenger list; conversely, such a list limited to identifying cargo is a cargo manifest or cargo list. The manifest may be used by people having an interest in the transport to ensure that passengers and cargo listed as having been placed on board the transport at the beginning of its passage continue to be on board when it arrives at its destination."

- dvs. KRITISK MANIFEST II: MANIFEST MANIFEST!

Manifestoriginalen

Citat af dada-manifest(er) ved Tristan Tzara, fordansket af Jørgen Sonne i hans De franske surrealister ("Tzara 1916-1924, Dada-Manifester")

"Udbrud

... Vi vil fra nu af skide i forskellige farver for at pryde kunstens zoologiske have med alle konsulaternes faner.
  ... Vi er cirkusdirektører og fløjter i blæsten over markederne, i klostrene, følelserne, restauranterne, ohi, hoho, bang, bang.
  ... Jeg siger Dem: der findes ingen begyndelse, og vi skælver ikke, vi er ikke sentimentale. Vi flænger som rasende blæst skyernes og børnenes linned itu, og forbereder det store syn ulykken, ildebranden, opløsningen.
  .. Lad os forberede undertrykkelsen af sorg og erstatte tårerne med sirener strakt ud fra et kontinent til det næste. Som faner af intens glæde og enlige med fiskens tristhed.
  Enhver handling er et cerebralt revolverskud.
  Lad hverteneste menneske råbe: Der er et stort negativt, destruktivt arbejde at gennemføre. Koste ud, gøre istand.
  Tanken bliver til i munden.
  Orden = uorden; jeg = ikke-jeg; bekræftelse = benægtelse.
  Freudianismen er en farlig sygdom.
  Jeg er imod systemerne, det mest akceptable system er ikke at have noget system.
  Logikken er en komplikation. Logikken er altid falsk.
  Det Skønne og Sandheden eksisterer ikke. Det der interesserer mig er en personligheds intensitet, overført direkte, helt klart, til hans værk, manden og hans vitalitet, den vinkel han betragter elementerne under, og den måde han i dødens kurv kan samle sansningerne og følelserne, disse ordenes kniplinger.
  Hvereneste side skal eksplodere, enten ved det dybe og tunge alvorlige, hvirvlen, svimmelheden, det nye, det evige, eller ved det knusende påhit, ved begejstringen i principperne, eller ved den måde det bliver udtrykt. "

H Ø R T !

Mens du læser HH, læser jeg manifester for futuristisk legetøj

THE FUTURIST TOY

In games and toys, as in all traditionalist manifestations, there is nothing but grotesque imitation, timidity (little trains, little carriages, puppets), immobile objects, stupid caricatures of domestic objects, antigymnastic and monotonous, fit only to cretinize and degrade a child.
  With plastic complexes we will construct toys which will accustom the child:

(1) TO COMPLETELY SPONTANEUS LAUGHTER (with exaggerated and comical tricks);

(2) TO MAXIMUM ELASTICITY (without resorting to the throwing of projectiles, whip cracking, pin pricks, etc.);

(3) TO IMAGINATIVE IMPULSES (by using fantastic toys to be looked at through magnifying glasses, small boxes to be opened up at night to reveal pyrotechnic marvels, transforming devices etc.):

(4) TO THE INFINITE STRETCHING AND ANIMATION OF THE SENSIBILITY (in the unbounded realms of the most acute and exciting noisess, smells and colours);

(5) TO PHYSICAL COURAGE, TO FIGHTING AND TO WAR (with enormous dangerous and aggressive toys that will work outdoors).

The Futurist toy will be of great use to adults too, since it will keep them young, agile, jubilant, spontaneous, ready for anything, inxhaustible, instinctive and intuitive.

- fra Giacamo Balla og Fortunato Deperos manifest "Futurist Reconstruction of the Universe", 1915 (links til flere manifester her)

HERZOGS MANIFEST (don't listen to the Song of Life)

Minnesota Declaration

Truth and fact in documentary cinema "LESSONS OF DARKNESS".

1. By dint of declaration the so-called Cinema Verité is devoid of verité. It reaches a merely superficial truth, the truth of accountants.

2. One well-known representative of Cinema Verité declared publicly that truth can be easily found by taking a camera and trying to be honest. He resembles the night watchman at the Supreme Court who resents the amount of written law and legal procedures. "For me," he says, "there should be only one single law: the bad guys should go to jail."
Unfortunately, he is part right, for most of the many, much of the time.

3. Cinema Verité confounds fact and truth, and thus plows only stones. And yet, facts sometimes have a strange and bizarre power that makes their inherent truth seem unbelievable.

4. Fact creates norms, and truth illumination.

5. There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization.

6. Filmmakers of Cinema Verité resemble tourists who take pictures amid ancient ruins of facts.

7. Tourism is sin, and travel on foot virtue.

8. Each year at springtime scores of people on snowmobiles crash through the melting ice on the lakes of Minnesota and drown. Pressure is mounting on the new governor to pass a protective law. He, the former wrestler and bodyguard, has the only sage answer to this: "You can´t legislate stupidity."

9. The gauntlet is hereby thrown down.

10. The moon is dull. Mother Nature doesn´t call, doesn´t speak to you, although a glacier eventually farts. And don´t you listen to the Song of Life. *

11. We ought to be grateful that the Universe out there knows no smile.

12. Life in the oceans must be sheer hell. A vast, merciless hell of permanent and immediate danger. So much of a hell that during evolution some species - including man - crawled, fled onto some small continents of solid land, where the Lessons of Darkness continue.

Walker Art Center, Minneapolis, Minnesota April 30, 1999
Werner Herzog

*I once saw a film celebrating the life of Katharin Hepburn, who I like as an actress. It was some kind of homage to her, but unfortunately it turns out she had these vanilla-ice-cream emotions. At the end she sits on a rock by the ocean and someone off camera asks her, "Ms Hepburn, what would you like to pass on to the young generation?" She swallows, tears are welling. She takes a lot of time, as if she were thinking deeply about it all, then looks straight into the camera and proclaims": Listen to the Song of Life." I was cringing so much it hurt, and still smart just thinking about it. It really couln't get any worse. Hearing those words was such a blow that I wrote it into the Minnesota Declaration, Article Ten, which I repat her and now for you. I look you right in the eye and say, "Don't you ever listen to the Song of Life."

- fra jumbo-interviewbogen Werner Herzog - A Guide to the Perplexed

Dit manifest

1. du

2. ikke De

3. ikke do

4. ikke Dy

5. lidt en då

6. ikke dø

7. du længe leve

8. you dada you 

9. du (imperativ)!

TAKTILISME! - touchy-feely 4 ever

Fra Marinettis Taktilistiske Manifest, 1930:

I started by submitting my sense of touch to an
intensive treatment, pinpointing the confused
phenomena of will and thought on various points on my
body, and especially on the palms of my hands. This
training is slow but easy, and all healthy bodies can,
through this training, give surprising and exact
results.

On the other hand, unhealthy sensibilities, which draw
their excitability and their apparent perfection from
the very weakness of the body, will achieve great
tactile power less easily, without duration or
confidence. I have created a first educational scale
of touch, which is, at the same time, a scale of
tactile values for Tactilism, or the Art of Touch.

First scale, level, with four different categories of
touch.

First category: extremely confident touch, abstract,
cold.
Sandpaper,
Silver-coated paper.

Second category: touch without heat, persuasive,
reasoning.
Smooth silk,
Silk crepe.

Third category: exciting, lukewarm, nostalgic.
Velvet,
Wool from the Pyrenees,
Wool,
Silk-wool crepe.

Fourth category: almost irritating, hot, determined.
Granulous silk,
Plaited silk,
Spongy cloth.
Second scale, volumes

Fifth category: soft, hot, human.
Suede,
Horsehair or dog hair,
Human hair,
Marabou.

Sixth category: hot, sensual, spirited, affectionate.
This category has two branches:
Rough iron
Soft brush,
Sponge,
Wire brush,
Plush,
Human or peach fuzz,
Bird down.

Through this separation of tactile values, I have
created:

1. Simple tactile boards that I will present to the
public in our contactilations or conferences on the
Art of touch.

I have arranged the previously catalogued tactile
values in wise harmonic or antithetical combinations.

2. Abstract or suggestive tactile boards (hand
journeys).

These tactile boards have arrangements of tactile
values that allow hands to wander over them, following
coloured trails and experiencing a succession of
suggestive sensations, whose rhythm, in turn languid,
cadenced, or tumultuous, is regulated by exact
directions.

One of these abstract tactile boards made by me, and
that has as a title Sudan-Paris, contains, in the part
representing Sudan, rough, greasy coarse, prickly,
burning tactile values (spongy material, sponge,
sandpaper, wool, brush, wire brush); in the part
representing The Sea, there are slippery, metallic,
fresh tactile values (silver-coated paper); in the
part representing Paris, there are soft, delicate,
caressing tactile values, hot and cold at the same
time (silk, velvet, feathers, down).

3. Tactile boards for the opposite sexes.

In these tactile boards, the arrangement of tactile
values allows the hands of a man and a woman, tied
together, to take a tactile journey together and
evaluate it. These tactile boards are extremely
varied, and the pleasure that they give is enriched by
the harnessing of rival sensibilities, which will
attempt to feel more acutely and better explain their
rival sensations. These tactile boards are destined to
replace the brutalising game of chess.

4. Tactile pillows.

5. Tactile sofas.

6. Tactile beds.

7. Tactile shirts and dresses.

8. Tactile rooms.

In these tactile rooms, we will have floors and walls
made of large tactile boards. Tactile values of
mirrors, running water, rocks, metals, brushes,
lightly electrified wires, marble, velvet, rugs that
will give the bare feet of the male and female dancers
varied pleasures.

9. Tactile streets.

10. Tactile theatres.

We will have theatres arranged for Tactilism. Seated
spectators will rest their hands on long, running
tactile ribbons that will produce tactile sensations
with different rhythms. It will also be possible to
place these ribbons on small rotating wheels,
accompanying them with music and light.

11. Tactile boards for the improvisation of words in
freedom.

The tactilist will express aloud the sensations that
his hands' journey transmits to him. His will be a
free-word improvisation, that is, freed from all
rhythm, prosody and syntax, an improvisation essential
and synthetic and with as little of the human element
as possible. The improvising tactilist may be
blindfolded, but it is preferable to wrap him in the
light of a projector. The new initiates, who have not
yet trained their tactile sensibilities, will be
blindfolded. But, as for the true tactilists, the full
light of a projector is preferable, since darkness has
the drawback of concentrating sensitivity into an
excessive abstraction.

Amagermanifest

ALT I STØVSUGERPOSER
(skilt på Holmbladsgade)

 INKL. IKKE  MINDST

GRAVID JERN
(produkt på Christianshavns Apotek)

Skrifterne om fluerne på væggene

TVANGSINSPIRERET MANIFEST

1.     MAN SKAL SÆLGE SIN FRIHED!

2.     MAN SKAL MORE PÅ SAMLEBÅND!

3.     MAN SKAL GLÆDE PÅ KOMMANDO!

4.     MAN SKAL HAVE 7 DAGLIGE DEADLINES!

5.     MAN SKAL ALTID HAVE TRAVLT!

6.     MAN SKAL GENTAGE SIG SELV!

7.     MAN SKAL GENTAGE SIG SELV!

8.     HALLUCINATIONEN ER RUTINENS KÆLEPINGVIN!

9.     GALSKABEN ER TRUMMERUMMETS NUMMERMAND!

10.   MAN SKAL INSPIRERES AF TVANG!

  

VÆGFORKLARING

Væggen hedder TVANGSINSPIRERET TOTALHVIRVEL

Ideen har været at foretage en række systematisk tilfældige raids ind i Storm P’s professionelle virke ca. 1920-1948, som kunne et give et optimeret, på samme tid flimrende og (hvis man kigger nærmere efter) detaljerigt indtryk af det samlede, massivt flersporede output.

Rent praktisk har jeg udvalgt tegninger (med eller uden tekst – eller, hvad angår fortællingerne, tekst uden tegninger) fra alle Storm P’s serier (De tre små mænd, Dagbogsblade, Peter og Ping, Fluer, Grog, Opfindelser, En underlig Mand, Kulørte Sider, Årbøger, fortællinger) og ikke-serier (reklamer, bogillustrationer); for hver serie har jeg, afhængigt af seriens udstrakthed (længstvarende serier er Peter og Ping og Dagbogsblade) gennnemlæst 1-3 hele årgange og valgt de tegninger og tekster ud, jeg uden videre, dvs. uden at reflektere nærmere over det, som lige præcis en daglig avislæser, bedst kunne lide.

Synspunktet er, at Storm P var en mester ikke på trods, men på grund af et umenneskelige arbejdspres og en svimlende produktivitet. Den sublime skævhed og skæghed og poesi, der centralt eller til en side blomstrer frem overalt, er et underskudsprodukt og en overlevelsesstrategi i vældet af vittighedstegneri. Et allerhelvedes, bevinget arbejde.

LB. april, 2012

VÅDT PÅ GEJL

KRITISK MANIFEST - TRIPTYKON

I
Det har næppe undgået nogens opmærksomhed, at det er foranderlige tider, vi lever i. For en stor medievirksomhed som Berlingske Media repræsenter det udfordringer, men det åbner samtidig for op for en verden af nye muligheder. Og dem har vi tænkt os at udnytte. Vi har sat barren højt, og hvis vi skal leve op til vores egne målsætninger, er det afgørende, at vi i det daglige navigerer efter de samme ledelsesværdier. I år har vi brugt kræfter på at nedfælde et helt nyt sæt ledelsesværdier, der matcher den virkelighed, vi lever i. AMBITION er en central værdi. Arbejder man i Berlingske Media er det ud fra et bevidst valg af en karriere, man brænder for - ikke blot en beskæftigelse. Som leder skal man konstant udvise kundefokus og forstå, hvad der skaber værdi for kunderne og os. Man skal besidde MOD, EVNE og VILJE til at træffe beslutninger - også de svære - og føre dem ud i livet. INVOLVERING er også et nøgleord. Ikke mindst i form af opstilling af mål og opnåelse af dem gennem delegering, opfølgning og coaching. Og så skal kunne omfavne alle facetter af innovation. Fra udvikling af mere effektive arbejdsmetoder til udvikling af helt nye produkler.

II
Berlingske Media ville ikke være nået så langt, så hurtigt i sin transformation af virksomheden uden et hold af engaegrede og dygtige medarbejdere. Berlingske Medias ledere og medarbejdere har forstået nødvendigheden af i krisetider at øge produktiviteten og gøre tingene anderledes, og deler ambitionen om at blive Danmarks mest dynamiske og innovative mediehus. Fra processen startede og til i dag, er der sket et kvantespring i vores evne til forundring, nytænkning og det at håndtere en helt ny virksomhedskultur. I løbet af de seneste to år er vi blevet dygtigere til at samarbejde på tværs, se nye muligheder og tage dem som en udfordring. Der er sket en betydelig opgradering af den samlede medarbejderstab med nye kompetencer og færdigheder. Der er en imponerende stærk vilje til at bringe vores forskellige projekter i mål, og alle bidrager til virksomhedens samlede bedste. De nye muligheder i markedet er ved at gå op for os, og der er blevet kortere vej fra ord til handling. Det er både sjovt og ind i mellem hårdt. Derfor skal der store ambitioner til for at være en del af Berlingske Media.

III
I Berlingske Media er vi heldige at have et væld af forskellige kunder. Mange er abonnenter, nogle er annoncører, nogle er digitale brugere og flere har købt forbrugsvarer hos os. For at stå stærkt i konkurrencen er det afgørende, at vi forstår kunderne og kommer tæt på dem. Målet er at forbedre vores kunderelationer på en række områder. Der har vi igangsat et ambitiøst, tværgående 'Kunden i centrum'-projekt, som skal sikre, at vi øger relevansen af vores tilstedeværelse i en række specifikke kundesegmenter - f.eks. indenfor feltet POESI ved at levere bedre og mere målrettede nyheder og produkter. Tanken er at skabe et mindset, hvor en privatperson ikke bare ses som læser eller netbruger, men som en kunde med mange forskellige behov og interesser, som vi har mulighed for at tilfredsstille med printindhold, digitale produkter, læserarrangementer, sevices og forbrugsvarer. Vi arbejder nu ud fra et løfte, som skal give vores kunder oplevelsen af at føle sig genkendt, velkommen og personligt værdsat - hver gang de er i kontakt med Berlingske Media.


[ordlyden hentet i Berlingske Medias årsskrift 2009 GODT PÅ VEJ, uddelt til samtlige virksomhedens medarbejdere; et enkelt sted er ordet SPORT skiftet ud med et andet ord]