Manifest
Art’s renewed function at this current era is to place the human accurately between the “Flow” and the “Machine”, between anarchy and aesthetics, between radical technology and living philosophy. This ‘placing’ is in fact positioning the human in a liminal state, in between configurations, so that the gap between information and data, the known and unknown, the visible and invisible is kept vibrating.
The current situation of science and technology and the change they make accessible, mark the possibility of crossing over and beyond the foundations of the human dynamics as they were historically defined. This state of affairs, points at the future as the main and critical arena of being a human. The future is a stage upon which the dream of a new man sharpens the old question about the nature of humanity. The future, this bustling arena in which the grand narratives are coming into collision, is the new place of art. Moreover, it is the state of affairs of art. This future slides into the “middle” of the now and in this sense, it becomes, at present, an alternative to history. In this newly forming actuality, the tenses of time are engaged in a dialectic state that I look at as the new existential state of art. A state in which art calls upon itself with a demand to create an interesting and attractive montage of Myth (the past), Suchness (the present) and an open edge (the future).
In other words, art has to jump in, to take upon itself the care, the ethical responsibility and in fact the task of redefining the aesthetics of being as an event in which love overflows information and passion disrupts patterns; art is to claim and become an event in which Aesthetic-Anarchy leads us beyond the coerced framing of Language and the “Machine”.
The “middle”, or center of art as always is empty and silent, for art is an act not of expression of “Isness” but of that which is not yet born, a manifest of a possibility that isn’t yet uttered, but is un-relentlessly shadowing the “machine”.
