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A Digital Manifesto...
A Digital Manifesto
By DJ Jarvis
"Let us abandon reason like a horrible mine. Let us throw ourselves into the pit of the unknown, not because we are desperate; but to simply enrich the bottomless reservoirs of the absurd." Fillippo Tommaso Marinetti...A Futurist Manifesto, circa 1910. | |
The sleek and speedy machine of "Fine Arts" was demolished during a head-on collision with the insurmountably jaded wall of "Post-Modernism". No one, it seems, has much interest in even hauling off the wreckage. "Good enough", I say; "let sleeping dogs lie". It is time for a new order. Not one of those lame "rising-out-of-the-ashes" things; because it is time to turn our backs on what was. Let the art schools, fashionable galleries and the whole money grubbing industry of Fine Arts rot and rust and fall in from the weight of its own exclusivity. It is time for a revolution. It is time for a "Digital Manifesto". Why a manifesto? Simply because no one does manifestos anymore. Therefore, what better way to connect the passion of the old with the promise of the new. If there is to be a Manifesto of the Digital Arts here are some of the things it should include. I. Death to the ... Limited editions may have made sense in the past. Litho stones and silk screens wear out. An engraving plate can print the image upon it at only one size. But with today's digital printing, ten copies now are the same color and quality as ten more copies later. An image can be printed at one size on coated paper, and another size on back-lit film, and another size on canvas. Is each one of these a separate edition? Wherein lies the edition...with the image or with the materials and size? If this is a convention that can so easily be usurped, then why bother? Is it better to sell one print for a thousand dollars or a thousand prints for one dollar? "Digital" allows and should encourage the artist to limit their output based only on the demand for a particular work or image over the course of their whole lifetime. "Make hay while the sun shines"...(then bury your files with you). II. We hold these things to be "contra-digital"... Don't get me wrong, here, any person that copies or otherwise re-issues someone else's work in whole or part and sells that work as their own or without permission of the original artist should be a candidate for public flogging. With the original artist receiving the syndication and re-broadcast rights for the video taped flogging footage. It's only fair. Either that or convince all mankind to quit inventing and using machines that make perfect copies and provide instantaneous distribution of aural and visual materials. OOPS, too late. III. Expand the creative bandwidth! People who had no idea what the "rules" were, and felt no loss when they were broken"...had no business doing what they did, but thank God they did. Mr. Matthaeus went on to add, "desktop video may never reach the highly controlled and calibrated quality of conventionally-produced high-end Video...but like in Print, it just won't matter." Expanding the creative bandwidth is more important and will win out over preserving worn out standards and ways of doing business that are designed mainly to exclude and discourage the millions who now have digital control over the "visual" part of the Visual Arts. While the integrity of an Artist's work must always be the major concern, Digital Arts must currently avoid being suckered into corporate maneuvering that limits creativity and access based on old standards, materials and money. For example, watercolor paper may not be the best substrate to reproduce an image. And, just because art salesmen are stuck in a place where what the image is printed on is more important than the image itself...where the frame costs more than they will pay the artist for the piece...where brand names mean more than innovation, we must not give in. We must continue to work and publish, show and share and market what we have made. It is regrettable that some manufacturers in their zeal to sell over priced and maintenance intensive printing systems made claims as to ink longevity without bothering to learn the facts of their product. The Digital Artist will have to work for many years, now, to counter the already faint-hearted gallery owners who use ink longevity and desperate clinging to old materials as an excuse to ignore THE WORK that digital artists create. In the new world we are currently creating, high cost will no longer signify superior work. Galleries and critics alike will soon have to realize that creativity, vision, diversity and craftsmanship have returned as the benchmarks of "value". IV. Toward a living Art... V. There is no conclusion... |
Este texto fue publicado por primera ves en la Revista EFX, Art and Design y actualmente se encuentra disponible en la página de JD Jarvis: Dunking Bird Producctions como parte de los ensayos y artículos
JD Jarvis...un buen hombre que se a dedicado al arte digital y la pintura. Residente del sur de EUA así como del Norte de México. A colaborado como editor en la publicación EFX, Art and Design publicada en Estocolmo, tambien suele colaborar con ensayos y distintos textos para portales de internet. Chicago, El paso, Albuquerque y Chihuaca han servido para montar sus exposiciones y realizar sus trabajos. En el 2000 le fue otorgado el Digital Creative Award y fue invitado a exponer su trabajo en el Museo Metropolitano de Fotografía de Tokyo.
Nota: para la versión en español del Manifiesto solo introduscan esta dirección http://digitalsouls.com/2001/digitalmanifesto.html en el traductor de google.
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