Wednesday, December 11, 2013
Wednesday, November 27, 2013
Eye of God - Jan Theuninck, 2013
Vimy Ridge
the spirit of death
kissed you
on this ridge
your work is done
no triumph no glory
but for ever
silent
© by Jan Theuninck
Sunday, November 17, 2013
Stellar Wind - Jan Theuninck, 2013
Interaction of stellar wind with diffuse nebulae.
A stellar wind is a flow of neutral or charged gas ejected from the upper atmosphere of a star. It is distinguished from the bipolar outflows characteristic of young stars by being less collimated, although stellar winds are not generally spherically symmetric.
Different types of stars have different types of stellar winds.
A stellar wind is a flow of neutral or charged gas ejected from the upper atmosphere of a star. It is distinguished from the bipolar outflows characteristic of young stars by being less collimated, although stellar winds are not generally spherically symmetric.
Different types of stars have different types of stellar winds.
Friday, November 8, 2013
Monday, July 22, 2013
Zyklon B - Jan Theuninck, 2013
Todesfuge.
Schwarze Milch der Frühe wir trinken sie abends
wir trinken sie mittags und morgens wir trinken sie nachts
wir trinken und trinken
wir schaufeln ein Grab in den Lüften da liegt man nicht eng
Ein Mann wohnt im Haus der spielt mit den Schlangen der schreibt
der schreibt wenn es dunkelt nach Deutschland dein goldenes Haar Margarete
er schreibt es und tritt vor das Haus und es blitzen die Sterne und er pfeift seine Rüden herbei
er pfeift seine Juden hervor lässt schaufeln ein Grab in der Erde
er befiehlt uns spielt auf nun zum Tanz
Schwarze Milch der Frühe wir trinken dich nachts
wir trinken dich morgens und mittags wir trinken dich abends
wir trinken und trinken
Ein Mann wohnt im Haus der spielt mit den Schlangen der schreibt
der schreibt wenn es dunkelt nach Deutschland dein goldenes Haar Margarete
Dein aschenes Haar Sulamith wir schaufeln ein Grab in den Lüften da liegt man nicht eng
Er ruft stecht tiefer ins Erdreich ihr einen ihr anderen singet und spielt
er greift nach dem Eisen im Gurt er schwingts seine Augen sind blau
stecht tiefer die Spaten ihr einen ihr andern spielt weiter zum Tanz auf
Schwarze Milch der Frühe wir trinken dich nachts
wir trinken dich mittags und morgens wir trinken dich abends
wir trinken und trinken
ein Mann wohnt im Haus dein goldenes Haar Margarete
dein aschenes Haar Sulamith er spielt mit den Schlangen
Er ruft spielt süsser den Tod der Tod ist ein Meister aus Deutschland
er ruft streicht dunkler die Geigen dann steigt ihr als Rauch in die Luft
dann habt ihr ein Grab in den Wolken da liegt man nicht eng
Schwarze Milch der Frühe wir trinken dich nachts
wir trinken dich mittags der Tod ist ein Meister aus Deutschland
wir trinken dich abends und morgens wir trinken und trinken
der Tod ist ein Meister aus Deutschland sein Auge ist blau
er trifft dich mit bleierner Kugel er trifft dich genau
ein Mann wohnt im Haus dein goldenes Haar Margarete
er hetzt seine Rüden auf uns er schenkt uns ein Grab in der Luft
er spielt mit den Schlangen und träumet der Tod ist ein Meister aus Deutschland
dein goldenes Haar Margarete
dein aschenes Haar Sulamith
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O meu azulejo de papel por Jan Theuninck (2020)
https://www.correiodoporto.pt/arte-postal/o-meu-azulejo-de-papel-por-jan-theuninck
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The world, this world of ours, is SATANIC (2025)
The famous Nazi-gas,as a metaphor of a world full of chemical ànd energetical weapons on individual scale.
(they call it now : "no touch torture" )
https://mailartfossiant.blogspot.com/2025/12/mail-art-project-2025-world-this-world.html
Examples of Theuninck's war-themed paintings:
Jan Theuninck's abstract paintings often explore sociopolitical themes, including war, pacifism, and the Holocaust, drawing from historical events like the Great War (World War I) and World War II. Below are several examples of his war-themed works, based on available documentation from art platforms, museums, and portfolios. These are typically acrylic on canvas, around 100 x 70 cm, and feature minimalist, monochrome styles to convey critique and reflection.
- Wargasm (2001): Depicts the psychoanalysis of a warrior, critiquing the psychological aspects of warfare and violence.
- Yperite (2004): References the use of mustard gas (Yperite) during World War I, symbolizing the terror of chemical warfare, with the accompanying phrase "On the fields our dead bodies!" It ties into Theuninck's birthplace near Ypres, a key WWI battlefield.
- Holocaust (2003): A direct commentary on the Shoah, often linked to his poem "SHOA," addressing persecution, torture, and murder under Nazi ideology.
- Passchendaele 1917 (2010): Evokes the brutal Battle of Passchendaele in World War I, near his hometown of Zonnebeke, highlighting the devastation of trench warfare.
- Zyklon B (2013): Focuses on the cyanide-based pesticide used in Nazi gas chambers during the Holocaust, representing genocide and human rights atrocities.
- Pool of Peace (2012): Abstracts the "Pool of Peace" crater lake in Belgium, formed by underground mines detonated during World War I, symbolizing the lasting scars of conflict.
- Ukraine (2014): Likely addresses the geopolitical conflict and annexation in Ukraine, reflecting themes of modern imperialism and war.
- Virus Attack (2014): Explores the concept of a terrorist attack via biological means, tying into broader fears of unconventional warfare.
Thursday, July 11, 2013
Mauthausen 186 - Jan Theuninck, 2013
Mauthausen 186
Stone by stone
we made a step
Step by step
we went to heaven.
© by Jan Theuninck
Mauthausen 186
Maen ha maen
e rejomp ur bazenn
pazenn ha pazenn
ez ejomp d'an neñv.
e rejomp ur bazenn
pazenn ha pazenn
ez ejomp d'an neñv.
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Das Konzentrationslager Mauthausen war aus nicht bekannten Gründen das einzige Konzentrationslager der Kategorie III auf dem Gebiet des Reiches. Die Kategorie III bedeutete Vernichtung durch Arbeit. Wörtlich heißt es in dem Erlass von Reinhard Heydrich (Chef der Sicherheitspolizei, des SD und SS-Obergruppenführer), die Lagerstufe III sei: "„...für schwerbelastete, unverbesserliche und auch gleichzeitig kriminell vorbestrafte und asoziale, das heißt kaum noch erziehbare Schutzhäftlinge Mauthausens“.
Wednesday, June 26, 2013
Das radikal Böse / The banality of evil - Jan Theuninck, 2013
eine Maximalform des Bösen ohne jede Beschränkung
Das radikal Böse ist das, was nicht hätte passieren dürfen, und das, woran man auch nicht schweigend vorübergehen darf.(Hannah Arendt)
Die Spur des Bösen ist eine breite Lache. Sie ist Konsens, mörderischer Konsens!
Nichts ist eines Kulturvolkes unwürdiger als sich ohne Widerstand von einer verantwortungslosen und dunklen Trieben ergebenden Herrscherclique „regieren“ zu lassen.“ Sophie Scholl 9. Mai 1921 - 22. Februar 1943
The sad truth is that most evil is done by people who never make up their minds to be good or evil
... l’homme le plus banal, dont la médiocrité intellectuelle et morale se suffit de l’occasion pour exceller au service de l’état (Hannah Arendt, Das radikal Böse)
Hannah Arendt argued that radical evil was the idea that human beings, or certain kinds of human beings, were superfluous. Eichmann’s banality lay in committing mindless evil in the daily course of fulfilling what he saw as his bureaucratic responsibility, while the Nazi regime’s radical evil lay in treating Jews, Poles, and Gypsies as lacking any value at all.(Davos depopulation?)
De Holocaust kon plaatsvinden omdat de nazi's het hele proces in stukjes hadden gebureaucratiseerd, waarbij niemand, behalve Hitler, verantwoordelijk was voor het geheel en ieder alleen maar voor een enkel klein onderdeel
The idea that we were commodities and Hidden Human Assets waiting to be tapped sent me on a twenty year course of resistance and dedication to exposing them (Niki Friedrich Raapana, June 9 2021)
Het kwaad is nu zo geïnstitutionaliseerd in de Westerse wereld dat het lijkt alsof ons lot hopeloos is. De mensen zijn blind voor wat hun wordt aangedaan, en hun blindheid maakt hen machteloos. Velen haasten zich zelfs tot de verdediging van hen die hen vernietigen.
https://www.frontnieuws.com/covid-misdaden-ontmaskerd-de-fda-nih-cdc-who-zijn-criminele-organisaties-die-aangeklaagd-berecht-en-geexecuteerd-moeten-worden-voor-massale-misdaden-tegen-de-mensheid/
https://www.frontnieuws.com/covid-misdaden-ontmaskerd-de-fda-nih-cdc-who-zijn-criminele-organisaties-die-aangeklaagd-berecht-en-geexecuteerd-moeten-worden-voor-massale-misdaden-tegen-de-mensheid/
ヤン・テューニック
Severe personality problems find *camouflage.* No one thinks "I'm a sadist" or "I'm a malignant narcissist."
They find a belief system/social group that validates their most hateful, destructive impulses & construes them as virtues.
The most toxic and hateful people in the world are 100% convinced they fight for what is true and right.
For colleagues looking for more theoretical explanation, the psychological processes are splitting, projection & projective identification. Splitting means not recognizing one's own capacity for hate, cruelty, and destructiveness. The person is blind to the bad in themselves.
Instead, they project the badness onto some designated other. And this other person, via the defense of projection, is now seen as the repository of all that is bad and evil and necessary to destroy. That's the projection.
The person now feels fully justified in unleashing
their viciousness and hate on the other person, who is now seen (via projection) as someone monstrous who must be destroyed. If the person who is projected on responds to the provocation with anger, this is now seen as further confirmation of how hateful and destructive they are (this is what is called is "projective identification.") The end result is that the person can deny their own sadism, cruelty, and hate—while simultaneously acting it out without restraint. And feel themselves to be 100% on the side of truth and right as they do it.
Prof Jonathan Shedler
They find a belief system/social group that validates their most hateful, destructive impulses & construes them as virtues.
The most toxic and hateful people in the world are 100% convinced they fight for what is true and right.
For colleagues looking for more theoretical explanation, the psychological processes are splitting, projection & projective identification. Splitting means not recognizing one's own capacity for hate, cruelty, and destructiveness. The person is blind to the bad in themselves.
Instead, they project the badness onto some designated other. And this other person, via the defense of projection, is now seen as the repository of all that is bad and evil and necessary to destroy. That's the projection.
The person now feels fully justified in unleashing
their viciousness and hate on the other person, who is now seen (via projection) as someone monstrous who must be destroyed. If the person who is projected on responds to the provocation with anger, this is now seen as further confirmation of how hateful and destructive they are (this is what is called is "projective identification.") The end result is that the person can deny their own sadism, cruelty, and hate—while simultaneously acting it out without restraint. And feel themselves to be 100% on the side of truth and right as they do it.
Prof Jonathan Shedler
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“…the main fallacy that prevents people from recognizing potential Hitlers before they have shown their true colors… lies in the belief that a thoroughly destructive and evil man must be a devil – and look like one; that he must bear the mark of Cain so visibly that everyone can recognize his destructiveness from afar. Such devils exist, but they are rare... much more often the intensely destructive person will put on a facade of friendliness... he will talk about his ideals and good intentions... So as long as one believes that the bad man has horns, one will not discover a bad man. ” – Erich Fromm, The Anatomy of Human Destructiveness
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A secondary aspect of AI that enables the banality of evil is the outsourcing of information and data management to an unreliable system. This provides plausible deniability, just like consulting firms are used by businesses to justify otherwise unethical behavior. In the case of generative AI models, the prerequisites for totalitarianism may be more easily fulfilled if rolled out without putting in place proper safeguards at the outset. ---------------------------------------------------------------
A secondary aspect of AI that enables the banality of evil is the outsourcing of information and data management to an unreliable system. This provides plausible deniability, just like consulting firms are used by businesses to justify otherwise unethical behavior. In the case of generative AI models, the prerequisites for totalitarianism may be more easily fulfilled if rolled out without putting in place proper safeguards at the outset. ---------------------------------------------------------------
Friday, April 26, 2013
Yperite - Jan Theuninck, 2004
acrylic on canvas - 2004
- - - - - - - - - - - - - - - -
Yperite
late at night
a mist
fills the valley
without knowing
it suffocates
like a dark power
on the fields
our dead bodies
and under the grass
a brown soil
© by Jan Theuninck
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This painting by Jan Theuninck depicts the terror, caused by chemical warfare, and the thousands of deaths on the battlefields. The painting is an anti-war statement and a symbol of peace - 2004, acrylic on canvas, 70 x 100 cm.
Displayed in exhibitions like those at the Vredesmuseum Nederland (Peace Museum Netherlands), it commemorates the first large-scale use of chemical weapons during WWI. Yperite (the Belgian/Dutch term for mustard gas, named after Ypres) was infamously deployed by German forces in 1917 near Ypres, causing agonizing deaths for thousands of Allied soldiers.
Metaphorical InterpretationTheuninck's Yperite is profoundly metaphorical, transforming a specific historical atrocity into a timeless symbol of human-induced devastation. Metaphorically, it stands for the "invisible poisons" of modern conflict: not just chemical agents, but ideological toxins like propaganda, nationalism, and dehumanization that erode societies from within. Theuninck, a pacifist, uses this to indict all forms of warfare, echoing his broader oeuvre on WWI and the Holocaust.
Corrosion of Humanity and Memory:
The painting's monochrome palette and abstract dissolution metaphorically depict how war "dissolves" identity and history. It symbolizes the slow, insidious corruption of the human spirit, much like how gas lingers in the soil of Flanders fields. For Theuninck, born in a region scarred by trenches, this is a personal metaphor for inherited trauma: the battlefield's mud becomes a canvas for forgotten victims, urging viewers to confront suppressed memories of violence
Anti-War Symbol and Call for Peace:
Yperite functions as an "anti-war statement and a symbol of peace". Its abstraction metaphorically contrasts destruction with the potential for renewal—white voids hint at absence (death, loss), but the color intrusions suggest defiant life force. Theuninck extends this to broader metaphors in his poetry and essays, linking WWI gas attacks to modern "viruses" like terrorism, surveillance states, and ecological collapse (as seen in related works like Virus Attack / Terror). In this vein, the painting warns of recurring cycles: just as yperite scarred a generation, unchecked aggression poisons the future.
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Corrosion of Humanity and Memory:
The painting's monochrome palette and abstract dissolution metaphorically depict how war "dissolves" identity and history. It symbolizes the slow, insidious corruption of the human spirit, much like how gas lingers in the soil of Flanders fields. For Theuninck, born in a region scarred by trenches, this is a personal metaphor for inherited trauma: the battlefield's mud becomes a canvas for forgotten victims, urging viewers to confront suppressed memories of violence
Anti-War Symbol and Call for Peace:
Yperite functions as an "anti-war statement and a symbol of peace". Its abstraction metaphorically contrasts destruction with the potential for renewal—white voids hint at absence (death, loss), but the color intrusions suggest defiant life force. Theuninck extends this to broader metaphors in his poetry and essays, linking WWI gas attacks to modern "viruses" like terrorism, surveillance states, and ecological collapse (as seen in related works like Virus Attack / Terror). In this vein, the painting warns of recurring cycles: just as yperite scarred a generation, unchecked aggression poisons the future.
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http://www.forumeerstewereldoorlog.nl/wiki/index.php/Yperite-Jan_Theuninck
https://fr.wikipedia.org/wiki/Ypérite_(Theuninck)
https://www.vredesmuseum.nl/galerie/wargasm.php
https://charterforcompassion.org/belgium
https://lexia.com.ar/Jan%20Theuninck.htm
Belgian Poststamps (2023)
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https://www.inflandersfields.be/images/filelib/VIFFflash502014_3408.pdf
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Yperite
~de Jan Theuninck (Belgia)~
(in romaneste de Andrei Dorian Gheorghe)
tarziu in noapte
o ceatza
umple valea.
fara sa stie
ea se sufoca
precum o putere intunecata.
pe campuri
trupurile noastre moarte
iar sub iarba
pamant cafeniu
https://charterforcompassion.org/belgium
https://lexia.com.ar/Jan%20Theuninck.htm
Belgian Poststamps (2023)
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in Viff-flash april/mei/juni 2014 (In Flanders Fields Museum)
https://www.inflandersfields.be/images/filelib/VIFFflash502014_3408.pdf
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Yperite
~de Jan Theuninck (Belgia)~
(in romaneste de Andrei Dorian Gheorghe)
tarziu in noapte
o ceatza
umple valea.
fara sa stie
ea se sufoca
precum o putere intunecata.
pe campuri
trupurile noastre moarte
iar sub iarba
pamant cafeniu
タイヌ・コット
あなたたちが
戦地へ向かった時
生きている
ヒーローだった
でも今は
ケシの花が
散る
丘の上に
いる
vertaald door Tomoko
Nagase
Yperiet
‘s avonds laat
vult een mist
de vallei
zonder te beseffen
verstikt hij ons
als een duistere
macht
op de velden
liggen onze lijken
en onder het gras
een bruine aarde.
© by Jan Theuninck
Ypérite
tard le soir
un brouillard
commence à remplir
la vallée
Sans le savoir
il nous étouffe
et nous étrangle
comme un pouvoir
occulte
Sur les champs
restent nos cadavres
et sous le vert
de nos plaines
une terre brune
© by Jan Theuninck
Iprite
tardi la sera
una nebbia
riempie la valle
senza sapere
soffoca
come una forza scura
sui campi
i nostri cadaveri
e sotto l'erba
una terra bruna
© by Jan Theuninck
YPRES - Prof.
György Novak fordításában
késõ éjszaka
köd
lepi a völgyet.
öntudatlanul
fojtón,
mint sötét erõ.
a mezõkön
tetemeink
a fû alatt
barna föld.
késõ éjszaka
köd
lepi a völgyet.
öntudatlanul
fojtón,
mint sötét erõ.
a mezõkön
tetemeink
a fû alatt
barna föld.
Yperit
spät am Abend
ein Nebel
füllt das Tal
ohne zu wissen
erstickt er
wie eine dunkle Macht
auf dem Felde
unsere Leichen
und unter dem Gras
eine braune Erde
© by Jan Theuninck
https://www.cipherjournal.com/html/theuninck.html
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