Manifesto of the Month

“The end is near. Or has it come and gone before?”
– An ancestor

Why can we imagine the ending of the world, yet not the ending of colonialism?

We live the future of a past that is not our own.

It is a history of utopian fantasies and apocalyptic idealization.

It is a pathogenic global social order of imagined futures, built upon genocide, enslavement, ecocide, and total ruination.

What conclusions are to be realized in a world constructed of bones and empty metaphors? A world of fetishized endings calculated amidst the collective fiction of virulent specters. From religious tomes to fictionalized scientific entertainment, each imagined timeline constructed so predictably; beginning, middle, and ultimately, The End.

Billy Childish & Charles Thomson

[Billy Childish epitomizes an ideal of ours over at Mutable, multi-faceted, multi-talented, the forever amateur who refuses to cave to the trends of the day, an anachronism that is also somehow the future. Apparently, the Stuckist movement evolved from an incident between Childish and his ex Tracey Emin (who made her name by installing her bed in the Tate, which went on to be shortlisted for the Turner Prize in ‘99) apparently shouted at Childish that his art was, “Stuck! Stuck! Stuck!”]

1. Stuckism is the quest for authenticity. By removing the mask of cleverness and admitting where we are, the Stuckist allows him/herself uncensored expression.

2. 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.

Henry Corbin

[The below essay was originally brought to our attention sometime in early 2009, and would be part of a pivotal reshuffling of thought here at Mutable. It is presented in its full glory. The “imaginal” is not “imaginary”!]

In offering the two Latin words mundus imaginalis as the title of this discussion, I intend to treat a precise order of reality corresponding to a precise mode of perception, because Latin terminology gives the advantage of providing us with a technical and fixed point of reference, to which we can compare the various more-or-less irresolute equivalents that our modern Western languages suggest to us.

I will make an immediate admission. The choice of these two words was imposed upon me some time ago, because it was impossible for me, in what I had to translate or say, to be satisfied with the word imaginary. This is by no means a criticism addressed to those of us for whom the use of the language constrains recourse to this word, since we are trying together to reevaluate it in a positive sense. Regardless of our efforts, though, we cannot prevent the term imaginary, in current usage that is not deliberate, from being equivalent to signifying unreal, something that is and remains outside of being and existence-in brief, something utopian. I was absolutely obliged to find another term because, for many years, I have been by vocation and profession an interpreter of Arabic and Persian texts, the purposes of which I would certainly have betrayed if I had been entirely and simply content-even with every possible precaution-with the term imaginary. I was absolutely obliged to find another term if I did not want to mislead the Western reader that it is a matter of uprooting long-established habits of thought, in order to awaken him to an order of things, the sense of which it is the mission of our colloquia at the "Society of Symbolism" to rouse.

In other words, if we usually speak of the imaginary as the unreal, the utopian, this must contain the symptom of something. In contrast to this something, we may examine briefly together the order of reality that I designate as mundus imaginalis, and what our theosophers in Islam designate as the "eighth climate"; we will then examine the organ that perceives this reality, namely, the imaginative consciousness, the cognitive Imagination; and finally, we will present several examples, among many others, of course, that suggest to us the topography of these interworlds, as they have been seen by those who actually have been there.

Manifesto of the Month

As the number of total recorded deaths from the novel coronavirus also known as COVID-19 slides past the 3 million marker worldwide, we here at Mutable thought we would give you a showcase of some of the manifestoes that have resulted. Due to space restrictions, we have chosen to on occasion present abridged versions or excerpts with links to the original. If you’re wondering how we organized them, they are listed from most manifesto to least manifesto. Although we tried to be as inclusive as possible, there were one or two “manifestoes” that were just TOO academic to truly be understood as manifestoes, or posing ideas (such as that COVID-19 is a hoax) which we felt we could not in good conscience reproduce.

*

A Manifesto of Sorts for Covid-19

[This manifesto from the author Zillah Eisenstein appeared on the NYU Press web site a year ago, in March 2020. You can see the original here.]

“We can rise together against COVID19 and make a better world”

A few thoughts to share:

COVID19 like most disease is democratic—it can affect anyone, although with differing options to respond to it. The world, including the US is not democratic. This does not bode well. But we can move forward because simple individualism contradicts the interdependency of this COVID crisis. “We” all suffer when one person circulates with symptoms—and we will flourish if we accept responsibility to isolate/distance and protect one another.

Manifesto of the Month

I'm not a surrealist. I just paint what I see. — Frida Kahlo

THE PAST AND THE PRELUDE

In his introduction to the classic novel Invisible Man (1952), ambiguous black and literary icon Ralph Ellison says the process of creation was "far more disjointed than [it] sounds ... such was the inner-outer subjective-objective process, pied rind and surreal heart."

Ellison's allusion is to his book's most perplexing character, Rinehart the Runner, a dandy, pimp, numbers runner, drug dealer, prophet, and preacher. The protagonist of Invisible Man takes on the persona of Rinehart so that "I may not see myself as others see me not." Wearing a mask of dark shades and large-brimmed hat, he is warned by a man known as the fellow with the gun, "Listen Jack, don't let nobody make you act like Rinehart. You got to have a smooth tongue, a heartless heart, and be ready to do anything."

Manifesto of the Month

1:There is an art form

1.1 There is an art to manifestos as there is an art to anything. Avoid this art form. Make other forms of art. There is no reason to make unfounded statements into strong declarative sentences. Do not believe yourself. Believe others first. Rather than holding yourself up as somehow a larger life form, remember that your unique perspective is a wondrous fallacy. Instead believe everything and anything. Be credulous.

1.2 When writing your manifesto, find yourself hidden behind a potted plant. At other times be other places. Make sure that you are always somewhere. If you are ever somewhere that is also nowhere, then be warned that this is dangerous. This is the sort of place that happens when a person is walking around without formed thoughts. It can be pleasurable. Some people drink themselves silly to achieve this placeless place on a nightly basis. This has little to do with the art of the manifesto.

as translated by C. Liszt

As with all arts, literature evolves: a cyclical evolution with strictly determined returns and which become more complicated of various modifications brought by the step of time and the confusion of circles. It would be superfluous to point out that every new progressive stage of art corresponds exactly to senile degeneration, at the ineluctable end of the immediately previous school. Two examples will be enough: Ronsard triumphs over the impotence of the last impressionists of Marot, Romanticism unfurls its royal flag on the classical debris badly kept by Casimir Delavigne and Steven de Jouy. It is because any demonstration of art succeeds inevitably in becoming impoverished, in exhausting itself; then, of copy in copy, simulation in simulation, what was full of sap and freshness becomes dried out and shriveled; what was the new and the unprompted becomes banal and commonplace.

Anton Krueger

preamble

…as everyone has by now, surely, become aware, the word “amateur” arises from the holy name of amaterasu – the japanese goddess of the sun who was born from the left eye of izanagi…it is to her alone that all true amateurists turn for benedictions of light and love…

aligning the field: amateurism & professionalism

ONE

…every action (drama / karma) is a creative gesture, because every action continuously creates consequences…

…if there is to be a division, then let it not fall between “bad” and “good” or “good” and “better”, but between action and non-action…

…amateurism is about action – praxis, rather than spectatorship…so the first thing to do is to GET OUT OF THE GRANDSTAND…

Gabriel Boyer

1. You Get up in the Morning

You get up in the morning, and you go to our job, and you do whatever it is you’ve been trained to do, through school and circumstance, and you come home to this place that you call yours, except for maybe it’s just a rented bit of flooring in some basement and beside a work desk or under someone else’s pillow, but you got a stove to heat your food, and maybe someone to talk to, maybe not, and the years pile on the years, and your body turns to a more brittle version of your body and maybe every once in a while something shatters or starts to wobble in its seat of cartilage. Eventually, one of these things will end you. Is this the dream?

Gabriel Boyer

Life is always a meeting point for other life. Death is a ruse. Money is a trick. Fear is what you must face and no matter how often you face it, it will not go away as long as you’re still alive, but not facing it is not an option. And the symbols we use to paint the world are only stand-ins for the emotions we use to paint our lives. While all the while, generally speaking, belief is the driving force behind our emotions, and how we see is who we are, and “if we are unable to see then no more you” sort of thing, and when there’s no you then you are easily manipulated by the money-lovers of the universe, and specifically through the use of the binary ruse system involving sex and death with obligation as the cohesion tying this entire faulty belief system together. Wow. I just said that.

Andre Breton

So strong is the belief in life, in what is most fragile in life—real life, I mean—that in the end this belief is lost. Man, that inveterate dreamer, daily more discontent with his destiny, has trouble assessing the objects he has been led to use, objects that his nonchalance has brought his way, or that he has earned through his own efforts, almost always through his own efforts, for he has agreed to work, at least he has not refused to try his luck (or what he calls his luck!). At this point he feels extremely modest: he knows what women he has had, what silly affairs he has been involved in; he is unimpressed by his wealth or his poverty, in this respect he is still a newborn babe and, as for the approval of his conscience, I confess that he does very nicely without it. If he still retains a certain lucidity, all he can do is turn back toward his childhood which, however his guides and mentors may have botched it, still strikes him as somehow charming. There, the absence of any known restrictions allows him the perspective of several lives lived at once; this illusion becomes firmly rooted within him; now he is only interested in the fleeting, the extreme facility of everything. Children set off each day without a worry in the world. Everything is near at hand, the worst material conditions are fine. The woods are white or black, one will never sleep.

CrimethInc. Workers’ Collective

What is Crimethink?

Crimethink can be reached from the subway station only by means of a daring double somersault. It is only a multiple orgasm away from the checkout counter of the grocery store, and a mere lobbed brick distant from the witness bench of the courtroom, but it is much harder to access from the closed playpens of your homes, schools, workplaces, and punk rock clubs—only a mystical revelation or masterless revolution will suffice. Crimethink riots rather than diets, so as to love itself body and soul.

David Pearce

A B S T R A C T

This manifesto outlines a strategy to eradicate suffering in all sentient life. The abolitionist project is ambitious, implausible, but technically feasible. It is defended here on ethical utilitarian grounds. Genetic engineering and nanotechnology allow Homo sapiens to discard the legacy-wetware of our evolutionary past. Our post-human successors will rewrite the vertebrate genome, redesign the global ecosystem, and abolish suffering throughout the living world.

Jonathan Adler

We believe that your home should make you happy.

We believe that when it comes to decorating, the wife is always right. Unless the husband is gay.

We believe in carbohydrates and to hell with the puffy consequences.

We believe minimalism is a bummer.

We believe handcrafted tchotchkes are life-enhancing.

Manifesto of the Month

The United States Civil Disturbance Plan 55-2

The following information was obtained under the Freedom of Information Act. The original printing was of June 1, 1984. The information herein is UNCLASSIFIED and does not come within the scope of directions governing the protection of information affecting the national security.

In this document signed by the Secretary of the Army, is hereby assigned as DOD Executive Agent for civil disturbance control operations. Under Plan 55-2 he is to use airlift and logistical support, in assisting appropriate military commanders in the 50 states, District of Columbia, and the Commonwealth of Puerto Rico and US possessions and territories, or any political subdivision thereof.

The official name of this project is called “Operation Garden Plot.”

Jesse Richards

1. Art manifestos, despite the good intentions of the writer should always “be taken with a grain of salt” as the cliché goes, because they are subject to the ego, pretensions, and plain old ignorance and stupidity of their authors. This goes all the way back to the Die Brücke manifesto of 1906, and continues through time to this one that you’re reading now. A healthy wariness of manifestos is understood and encouraged. However, the ideas put forth here are meant sincerely and with the hope of bringing inspiration and change to others, as well as to myself.

2. Remodernism seeks a new spirituality in art. Therefore, remodernist film seeks a new spirituality in cinema. Spiritual film does not mean films about Jesus or the Buddha. Spiritual film is not about religion. It is cinema concerned with humanity and an understanding of the simple truths and moments of humanity. Spiritual film is really ALL about these moments.

Chris Locke, Doc Searls, David Weinberger, Rick Levine

1. Markets are conversations.

2. Markets consist of human beings, not demographic sectors.

3. Conversations among human beings sound human. They are conducted in a human voice.

4. Whether delivering information, opinions, perspectives, dissenting arguments or humorous asides, the human voice is typically open, natural, uncontrived.

5. People recognize each other as such from the sound of this voice.

6. The Internet is enabling conversations among human beings that were simply not possible in the era of mass media.

7. Hyperlinks subvert hierarchy.

8. In both internetworked markets and among intranetworked employees, people are speaking to each other in a powerful new way.

9. These networked conversations are enabling powerful new forms of social organization and knowledge exchange to emerge.

J.R. “Bob” Dobbs

“Time Control? You’ve come to the right place…”

ARE YOU ABNORMAL?

Then you are probably BETTER than most people!
IF you suspect that things are much worse than you ever suspected—

IF the only thing you’ve been able to laugh at for the last 5 years is the fact that NOTHING is funny anymore—

IF you sometimes want to collar people on the street and scream that you’re more different than they could possible *imagine*—

IF you can possibly help us with a donation—

IF you see the whole universe as one vast morbid sense of sick humor—

IF the current “Age of Progress” seems more like the Dark Ages to you—

IF you are looking for an inherently contradictory religion that will condone megadegeneracy and yet tell you that you are “above” everyone else—

Then…
THE CHURCH OF THE SUBGENIUS

could *save your sanity!*

Wassily Kandinsky

To begin with, let us test the working on ourselves of individual colours, and so make a simple chart, which will facilitate the consideration of the whole question.

Two great divisions of colour occur to the mind at the outset: into warm and cold, and into light and dark. To each colour there are therefore four shades of appeal — warm and light or warm and dark, or cold and light or cold and dark.

Generally speaking, warmth or cold in a colour means an approach respectively to yellow or to blue. This distinction is, so to speak, on one basis, the colour having a constant fundamental appeal, but assuming either a more material or more non-material quality. The movement is an horizontal one, the warm colours approaching the spectator, the cold ones retreating from him.

Twelve Southerners

The authors contributing to this book are Southerners, well acquainted with one another and of similar tastes, though not necessarily living in the same physical community, and perhaps only at this moment aware of themselves as a single group of men. By conversation and exchange of letters over a number of years it had developed that they entertained many convictions in common, and it was decided to make a volume in which each one should furnish his views upon a chosen topic. This was the general background. But background and consultation as to the various topics were enough; there was to be no further collaboration. And so no single author is responsible for any view outside his own article. It was through the good fortune of some deeper agreement that the book was expected to achieve its unity. All the articles bear in the same sense upon the book’s title-subject: all tend to support a Southern way of life against what may be called the American or prevailing way; and all as much as agree that the best terms in which to represent the distinction are contained in the phrase, Agrarian versus Industrial.

Kaylea Hascall

Imagine: One fine morning, the boss walks into your office and says “I need your group to be more innovative.” Hmm. What does she mean by that statement? How are you supposed to go “be innovative”? What questions do you ask her about this new mandate? Can you do it? Can your staff?

Raoul Vaneigem

The duty to produce alienates the passion for creation. Productive labour is part and parcel of the technology of law and order. The working day grows shorter as the empire of conditioning extends.

In an industrial society which confuses work and productivity, the necessity of producing has always been an enemy of the desire to create. What spark of humanity, of a possible creativity, can remain alive in a being dragged out of sleep at six every morning, jolted about in suburban trains, deafened by the racket of machinery, bleached and steamed by meaningless sounds and gestures, spun dry by statistical controls, and tossed out at the end of the day into the entrance halls of railway stations, those cathedrals of departure for the hell of weekdays and the nugatory paradise of weekends, where the crowd communes in weariness and boredom? From adolescence to retirement each 24-hour cycle repeats the same shattering bombardment, like bullets hitting a window: mechanical repetition, time-which-is-money, submission to bosses, boredom, exhaustion. From the butchering of youth’s energy to the gaping wound of old age, life cracks in every direction under the blows of forced labour. Never before has a civilization reached such a degree of contempt for life; never before has a generation, drowned in mortification, felt such a rage to live. The same people who are murdered slowly in the mechanized slaughterhouses of work are also arguing, singing, drinking, dancing, making love, holding the streets, picking up weapons and inventing a new poetry. Already the front against forced labour is being formed; its gestures of refusal are moulding the consciousness of the future. Every call for productivity in the conditions chosen by capitalist and Soviet economy is a call to slavery.