This piece of work was done by the artist ‘Salvador Dali’ his work meant to question that beyond logic and reason.  He has always been fascinated by the camera and used photography in order to create aesthetics. he concluded through his work that nothing will prove surrealism right as much as photography.  surrealism is such a game changing art movement in photography. you are able to see the motivation and imagination behind this image, his inspiration fro many of his works and possible influence for this image was the first works war and so many of his works had an anti war slant. Many of the inspirations for surrealism came from the dada, as this is where cubism and expressionism are formed.  This part of the piece has a formation of intuitive art that works within the mixed media often trying to create  a joining of his renowned psychological connotations to my mind this image clearly is a discovery of the subconscious in order to present an idealism for superior reality. When discussing the manifesto of surrealism it allowed Dali to reality flash’s out his work and incorporate new concepts of movement.  This work prevued the classical art anthesis and creates the principles of imitation and realness within actual objects. This can be seen within the image through many often objects being in the air and capturing the stunned movement of the water flying throughout.  The pure physic automatism purposes the manner of the real functioning objects throughout, and this subsides to form an absence of all control exercise by reason. This image to my mind forms a superior reality of certain forms previously neglected in the omnipotence of a dream. I believe their is an effort within this image to from creative powers of the unconscious and path the territory of dreams ,chance and chaos. Many fo these themes come under the influence  of my project on reality and also wanting to show an emotion within the reaction and movement of ht objects itself. Conceptually this image is very planned out in a  Tablo manner. It looks although there is a literal orchestrator forming the composition fo the piece itself. The rawest and unhindered mind is found within boundless sensations of this image, the personality of the cats moving, the energy to which the image holds and the scattered composition to look as though to is still in full swing and moving, the more you look within this image the more you are able to see. This image is a clear representation of the trend of floating subjects, defiance of science and repetition. it sis said that  “A very common Surrealist technique is the juxtaposition of objects that would typically not be together in a certain situation or together at all. This has been described as “beautiful as the encounter of an umbrella and a sewing-machine on a dissecting table”  this juxtaposition conveys a metaphor to the image and the conceptual allow each viewer to analysis the image in what they think means to themselves.

This image above was composed by Thomas Barbey. Barbey was not only a photographer but would reference to himself as being a photo collage artist. This image clearly has an unlimited imagination and combines widely disparate imagery into a seamlessly beautiful piece. The combination of three different locations  to put together this composition is beyond me. Surprisingly all of his works are made through classic photographic techniques and using no computer.  I believe this collage is highly fascinating he has said that “The montages are created by carefully choosing printing procedures, such as combination printing; sandwiching negatives together, thereby printing them simultaneously; pre-planned double exposure in the camera; the re-photographing of collaged photographs; or a combination of the above.” this image itself is called ‘self exposed’ it shows a women that is lifting her face like a curtain and revealing an image of a city. This concept of how people only real certain parts of themselves in certain situations is fascinating and the image says this all perfectly. The consideration of keeping parts of oneself is a mystery is not necessarily a bad thing and allowing once self to discover one slowly makes a relationship more interesting.  surrealism is a gift and an ability to create a flawless scene out of different images is breath taking. Barbéy’s surrealistic manipulations are not only works of retouching and airbrushing – he also sticks the negatives together, photographs them, uses other techniques to reach the concept vision he had in his mind first – but few are able to resist the gripping illusion. Overall for my project I think I can successful link in people tearing away a part of themselves and showing an emotion for the environment in which they grew up. I think this also accompanies by alternate reality aspect of my work and i think this will really help me to produce images accessing surrealism themes.

Surrealism it still one of the remaining strong influences of photography and within the contemporary arts scene. It Is said that “The influence of Surrealism as a style of art can be found in a wide variety of modern and contemporary schools – notably, early Abstract Expressionism, Pop-Art and Conceptualism – and permeated nearly all contemporary art forms, including Assemblage, Installation and Performance.” I believe I can relate this to my own manifesto by encouraging the same beliefs of what these two artists achieved throughout their own work. Additionally I think there is a clear contextual link to these image and the of political landscapes. The sense fo emotion throughout the use of positioning and objects used in order to create a feeling is evident and purposes the question what is reality when faced with pain and abstract emotions.

1. I will photograph representations of society within Jersey through individual subjects.
2. I will show the population of St. Helier and Jersey in the light that they portray themselves in when it appears that nobody is looking.
3. I will take inspiration from Henrik Malmstrom’s ‘A Minor Wrongdoing’ by taking photographs that do not fit within the conventions of photography.
4. I will question whether the technicalities and conventions of society, photography and day-to-day life are necessary.
5. I will demonstrate how residents of Jersey react to changing developments within the island.
6. I will show how there is always someone watching from afar.
7. I will take inspiration from Lewis Bush’s work on ‘Metropole’ in the sense of use of double exposure.
8. I will demonstrate political landscape through showing the vast differences between the individuals in Jersey.
9. I will bring forward the feelings within the subject I photograph – through disorientation and reactions to everyday factors on the streets.

A manifesto is a published verbal declaration of the intentions, motives, or views of the issuer, be it an individual, group, political party, government or an artistic movement.  The word manifesto is derived from the Italian word ‘manifesto’, which is derived from the Latin ‘manifestum’, meaning clear or conspicuous. A political manifesto  A manifesto usually accepts a previously published opinion or promotes a new idea with intentions for carrying out changes the author believes should be made.  In particular, political and artistic manifestos can be interesting.

Political Manifesto

A famous political manifesto is ‘What Is To Be Done?’ by Vladimir Lenin, published in 1901. It is a political pamphlet written by Lenin, who is a Russian revolutionary who said that the article represented “a skeleton plan to be developed in greater detail in a pamphlet now in preparation for print”. The title ‘What Is To Be Done?’ by the novel of the same name by a 19th century Russian revolutionist  Nikolai Chernyshevsky. In this political manifesto, Lenin argues that the working class will not become political simply by fighting economic battles with employers over situations such as wages and working hours. In order to convert the working class to Marxism (the political and economic theories of Karl Marx and Friedrich Engels which were later developed by their followers to form the basis of communism), Lenin insists that Marxists should form a political party of dedicated revolutionaries to spread the ideas among the workers. The main points in the political manifesto are:

• Lenin confronts the Economist trend in Russian Social Democracy
• Lenin states that workers will not spontaneously become Marxists just by fighting battles over wages, rather they need to form a political party to publicise their ideas – he says that to understand politics you must understand all of society, which the workers need to learn to do.
• Lenin speaks about the wave of strikes in late 19th Century Russia and says “the history of all countries shows that the working class, exclusively by its own efforts, is able to develop only trade-union consciousness”.

Below, I have included an extract of the political pamphlet in order to show an insight to the language used, the vision and metaphors.

Artistic Manifesto

A very good example of an artistic manifesto is the Futurism manifesto which was written by the Italian poet Filippo Tommaso Marinetti and published in the French Newspaper ‘Le Figaro’ in 1909. In the Futurism manifesto, Marinette expresses Futurism as a rejection of the past and a celebration of speed, machinery, violence, youth and industry. The Futurism movement places action over sentiment.  Futurists insist that literature will not be overtaken by progress, rather, it will absorb progress in its evolution. Man is reacting against the potentially overwhelming strength of progress. Below, I have written out the founding manifesto of Futurism for both research and comparison purposes:

1. We intend to sing the love of danger, the habit of energy and fearlessness.
2. Courage, audacity, and revolt will be essential elements of our poetry.
3. Up to now literature has exalted a pensive immobility, ecstasy, and sleep. We intend to exalt aggressive action, a feverish insomnia, the racer’s stride, the mortal leap, the punch and the slap.
4. We affirm that the world’s magnificence has been enriched by a new beauty: the beauty of speed. A racing car whose hood is adorned with great pipes, like serpents of explosive breath—a roaring car that seems to ride on grapeshot is more beautiful than the Victory of Samothrace.
5. We want to hymn the man at the wheel, who hurls the lance of his spirit across the Earth, along the circle of its orbit.
6. The poet must spend himself with ardor, splendor, and generosity, to swell the enthusiastic fervor of the primordial elements.
7. Except in struggle, there is no more beauty. No work without an aggressive character can be a masterpiece. Poetry must be conceived as a violent attack on unknown forces, to reduce and prostrate them before man.
8. We stand on the last promontory of the centuries!… Why should we look back, when what we want is to break down the mysterious doors of the Impossible? Time and Space died yesterday. We already live in the absolute, because we have created eternal, omnipresent speed.
9. We will glorify war—the world’s only hygiene—militarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman.
10. We will destroy the museums, libraries, academies of every kind, will fight moralism, feminism, every opportunistic or utilitarian cowardice.
11. We will sing of great crowds excited by work, by pleasure, and by riot; we will sing of the multicolored, polyphonic tides of revolution in the modern capitals; we will sing of the vibrant nightly fervor of arsenals and shipyards blazing with violent electric moons; greedy railway stations that devour smoke-plumed serpents; factories hung on clouds by the crooked lines of their smoke; bridges that stride the rivers like giant gymnasts, flashing in the sun with a glitter of knives; adventurous steamers that sniff the horizon; deep-chested locomotives whose wheels paw the tracks like the hooves of enormous steel horses bridled by tubing; and the sleek flight of planes whose propellers chatter in the wind like banners and seem to cheer like an enthusiastic crowd.

Similarities and Differences

Some of the similarities between the political manifesto, ‘What Is To Be Done?’, and the artistic manifesto of Futurism are:

• They both aim to make it heard what they believe in
• They both state what it is that they are going to be doing.
• They both have key points and beliefs from the author
• They both give a deep insight to the mind of the author/show how they feel about society or their situation.

Some of the differences between the political manifesto, ‘What Is To Be Done?’, and the artistic manifesto of Futurism are:

• Political manifesto’s aim to persuade the reader of their views, whereas artistic manifestos state their views as they are for them and not for those that disagree.
• Political manifesto’s point out points of injustice in society and attempt to give the reader something to believe in through claiming to change this injustice, whereas artistic manifestos focuses on the individual and what they want to be/who they could become through the manifesto.