Sunday, 15 September 2013

Kontraster savnes og haves


CONTRASTS MISSING OR GAINED


ENGLISH TRANSLATION IN ITALICS


Den fredfyldte salafist har haft en travl uge. Han blev forbudt endnu en gang på Facebook - han blev også slettet på min væg - og denne gang fik hans tegner, Kianoush Ramezani, desuden karantæne i 12 timer.


The Serene Salafist has had a busy week. He was deleted once again from Facebook - he was also deleted from my wall - and this time his cartoonist, Kianoush Ramezani, was banned for 12 hours.

Kianoush Ramezani, Salafist Harmony, 5. april 2012.


Han er interessant som tegning, fordi hans pointe ikke er at finde i papiret, men i mødet med beskueren og dennes viden om salafisters vanlige adfærd - rasende, råbende, slående alt ned foran sig. Og så denne fuldstændige hvilen i sig selv, for en gangs skyld uden behov for at skulle indrette andre i sit eget billede.

Selve harmonien opstår først i tegning/beskuer-kombinationen. Harmonien forudsætter hans beskuer. Harmoni har vi som begreb haft med os siden antikken i betydningen af noget sammenføjet og er et spørgsmål om spænding i balance - to kontrasters møde i gensidighed, som begge må forblive aktive, ellers tipper forholdet.

Hvad der straks bringer tanken til en anden af ugens tegninger, hvis tegner udkastede endnu en fagterm: Komplementaritet. Tegningen var af Per Marquard Otzen og anledningen et udfald mod ULVEN i det danske landskab. Det er noget farligt stads, de dyr, det ved enhver, som har fået læst eventyr op.

Nu døde den første af måske to indvandrende ulve i nyere tid af sult? Så, hvem er i virkeligheden farlig?


He is of particular interest in that his significance is not to be detected in the lines on the paper, but in the encounter with his beholders and their knowledge of the usual behaviour of Salafists - furious, shouting, striking down everything in front of them. And then, just for once, a complete serenity without the need to shape others unto his own image.

In this instance harmony arises exclusively in the drawing/viewer-combination. Harmony is a concept we had with us since antiquity in the sense of something being joined and is a matter of tension in balance – the exchange of two contrasts both of which must remain active, otherwise the balance will be upset.

Which immediately brings another of this week's cartoons to mind whose cartoonist likewise threw in a technical term: Complementarity. The drawing was by Per Marquard Otzen and the occasion a diatribe against THE WOLF in the Danish landscape. That animal is dangerous stuff, as anyone will know who has been told old tales.

Now, the first of perhaps two wolves settling in Denmark for many centuries died of hunger? So, who is in fact dangerous?


Per Marquard Otzen, Ulven kommer! / Wolf! 9. september 2013.

Billedtekst: Ja, den er her for så vidt allerede, en enkelt han eller to.  I Jylland. 
Dansk Folkepartis miljøordfører vil have dem indfanget og trygheden tilbage. 
Andre har savnet det 'komplementære', et filosofisk grundbegreb ifølge Niels Bohr. 
I det kulturelle såvel som politiske liv savnes kontrast, antitese og modpol, 
men Rødhætte blusser i sød forventning.


Caption: It is actually here already, one male or two. In Jutland.
A spokesperson from The (right-wing) Danish People's Party want them captured and safety restored.
Others have been missing the 'complementary', a basic philosophical concept according to Niels Bohr.
Cultural and political life lack contrast, antithesis and opposition, 
but Red Riding Hood is blushing in sweet anticipation.


Som hans beskuere befinder vi os præcis i midten, så rent fysisk er vi i harmoniens rolle, der sætter de to yderpoler i spil og balance. Men harmonibegrebet har en tendens til at blive misforstået som modsætningernes opløsning, hvorfor Per Marquard Otzen inddrager Niels Bohrs komplementaritetsbegreb. 

Det handler om en forklaringsmodel, som rummer - Bohr skriver selv udtømmer - al tænkelig viden om det pågældende objekt. 

Den klassiske fysik var en idealisering, for nu at citere Bohrs citat af Max Planck, en enkelt forsøgsopstilling, hvor de opnåede oplysninger supplerer hinanden og sammensættes til et modsigelsesfrit billede af undersøgelsesobjektets opførsel. Men i kvantefysikken er svarene komplementære i forhold til hinanden. 

For nu at gøre forholdet konkret, har vi foran os en billedflade, som er den ene synsvinkel rent fysisk, men hvori tegneren krydsrefererer fra det tilsyneladende i eventyrets figurer til demokratiets indretning i Norden. Drømmen om farligheden og at blive flået, fordi farligheden har været udryddet i samfundets indretning. Så ved genkomsten har byttedyr og dræber byttet roller, eller måske slet ikke, for i givet fald findes drømmen ikke.

Samme komposition finder vi hos Doaa Eladl, hvor magten igen indtager højresiden, nu i en fornægtelse af komplementaritet. Deres udfordrer er her af den 16-årige blogger fra Pakistan, Malala Yousafzai, som blev skudt ned, fordi hun insisterede på sin ret til at lære og at læse:


We see the composition from the point of its middle axis, so physically we are in the role of "harmony" if not joining, then putting the two extremes at play. But the concept of harmony tends to be misunderstood altogether as the dissolution of oppositions, why Per Marquard Otzen engages Niels Bohr's concept of complementarity.

Complementarity is an explanatory model, which includes - Bohr writes exhausts - all possible knowledge about the object in question.

Classical physics was an idealization to quote Bohr quoting Max Planck with a single experimental setup in which the information obtained would create a clear and distinct description. But in Quantum Physics the responses remain complementary to each other.


Now, to specify the notion, we have before us a picture plane with its single point of view in the physical sense. But the cartoonist opposes the seemingly in the fairy-tale characters to democracy as we know it in the Nordic countries. Where danger and the fear of being ripped open is but a dream in that the organization of society has eliminated everything that could constitute a threat. So slayer and prey have exchanged roles, or perhaps not, in that it would be the end of the dream.

Doaa Eladl has used an identical composition where dominance once again occupies the right side, this time in a refutation of complementarity. Their challenger is the 16-year old blogger from Pakistan, Malala Yousafzai, who was shot down because she insisted on her right to learn and to read:



Doaa Eladl, Malala, 9. januar 2013.


Malala viste sig at være et nærmest umuligt motiv for bladtegningen. Ikke, at det ikke blev forsøgt, men resultaterne blev nærmest nuttede, fordi vi var på hendes side, tegnerne som deres beskuere.

Doaa Eladl derimod brugte situationens komplementaritet, hvor vi ser sagens parter og deres gensidige våben, som begge parter er gensidigt truet eller føler sig truet af. Ved at rumme - udtømme? - alle facetter, får vi endelig portrættet af Malalas kolossale mod. Forresten er dette det vrede skæg på hjemmebane, de rettroende, der slår alt ned foran sig, der ikke retter ind efter dem.


Malala proved to be an almost impossible subject for cartoonists. Not that they didn't make the attempt, but their results were mostly almost cute, in that we were all on her side, cartoonists and beholders alike.

Doaa Eladl, on the other hand, encompasses the complementarity of the situation. We see the parties involved and their respective weapons that the other party is or feel threatened by. By including – exhausting in Bohr's sense? - all aspects, we finally have a portrait of Malala's tremendous courage. Incidentally, these are the Angry Beards, as we usually know them. TheSelf-Righteous, who gun everything down before them to shape it unto their own image.


Tak til alle tegnere for endnu en stærk tegneruge! / Thank you to all cartoonists for another strong week of cartooning.



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