A "manifesto against" is a strange type of manifesto because it delivers an affirmative position from the negation of another. Sabadell Artiga's "Manifest contra el paisatge" is a warranted negation because it reacts against paisajismo as a symptom of viewing Nature from an entirely human(ized) perspective. This "act" of viewing works like a freeze frame, stopping the confluence of relations between objects in a pure attempt to evaluate their esthetic "charm". Under the hypnosis of paisajismo, we are unable to act or comprehend the ecological crisis before us. I am fascinated by extracting the extremely nonhuman presence in this supposedly humanist act.
As Morton pointed out in a recent talk on his hyperobjects, splicing these freeze frames together with time does not do the trick: "something remains the same" (contra parts of Deleuze's cinematic theory). And so we have place: the zipping up of horizons from outside interference and, more strangely, internal chattering. Towards the end of his text, S.A. discusses three types of landscape that need to quietly disappear: paisaje natural (what he provocatively calls "pornografía paisajista), paisaje urbano and paisaje emocional. These structural categories bring to mind Guatarri's work on The Three Ecologies. If memory serves, the correlation is almost exact. There are certainly many challenges in any attempt to make art "against" these structures, but as he states in his "coda finale" "pero las mariposas seguirán voalndo" (Paul Ehrlich dixit).
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