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30/11/2010

CREALISM CLAIMS

 

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photo Eric Garault (détail)

 

Crealism claims that the world ought to be our common work of art. 

Therefore, there shall be less and less separation between the everyday life and the esthetical moments that art provides. 

Crealism claims that we should stop to adapt to reality as if it were truth.

Therefore, we should be the architects of our reality, by co-creating our orders and game rules.

Crealism claims that the flow of the Creal is the ever creating vibration from wich reality is shaped.

Therefore we should be aware that there's always much more in life than what we see.

Crealism claims that society should be organized around the values of art and creation, and not the market money values.

Therefore, we should all participate in making the art market less absurd and speculative. "A new society would be necessary if art ought to be innocent again" Thomas Mann.

Crealism claims that improvising is existing, but order is necessary.

Therefore we should work on an equilibrium between happenings and protocols.

Crealism claims that numerism wants to rule the world and impose its codes, but that Eros is stronger that Numeros.

Therefore we should play with the automatons to make them produce freedom, and settle our own codes.

A Crealist is a receptor of the Creal, a compositor of existences.

Crealism claims that perception is a point of view.

Therefore we should deconstruct the perception clichés.

Crealism claims that every human being plays a different music, on a personal tone.

Therefore we should encourage singularities and listening.

Crealism claims that too much information kills the imaginative power, and that without imagination reality is dead and reproductive.

Therefore we should let empty spaces copulate with informed spaces.

Crealism is an enemy of standardisation and mimetism.

Therefore we will produce our own ephemerous repetitions to break the routines.

Crealism claims that there are many worlds.

Therefore we will consider our space of expression as a field for multiple systems.

 Crealism wants to fluidify heavy dualisms, like man/woman, art/business, poetry/reality, death/life.

Therefore we will try to give birth, alltogether, to a more generous and genuine world.


Luis de Miranda

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21/05/2010

what is a crealist ?

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schéma tiré de Women in open source, une étude d'Angela Byron sur la sous-représentation des femmes dans le secteur du logiciel libre.

18:33 Publié dans philosophie | Lien permanent | Commentaires (5) | Tags : crealism | |  Facebook | |  Imprimer

10/02/2010

THE CREALIST MANIFESTO

Eight points towards an Infinite on your feet
(translated by Mary C., original text written in French by Luis de Miranda)



1. At the heart of reality a continuous, material and spiritual creation is acting. The world is/has to be my creation is the differential ethics of singular subjects. Truth, which inter-relational event keeps springing up here and there, along the path of History. Truth we often forget because of the disheartening humiliations of the world as it is and of the human beings as they are. Crealism is no anthropocentrism, which would artificially separate a nature-object from a human-master and owner. There are some active complicities and affinities in the chaosmos and the one who elevates himself to the dignity of listening to it and working at it.

2. Capitalism alters the world and drives human beings to alter wilfully their bodies and souls in accordance to anxiety inducing standards. What is to be aimed at (so many people proclaimed it better before me) is a differential and acting otherness, a loving, political, erotic, aesthetic, cosmic, professional ethics made of adventurous asceticism and of a heroic attempt not to bargain one’s ecstasies. The stanza against the hypnagogic nihilism implies this apparently megalomaniac requirement of processing deconditioning, a poetic poïesis and policy trying to give back its good name to the desiring imagination, to the wilful and generous ideation, to the effort of invention and of supporting new structures in terms of existence.

3.  Of course, on the in-dividual scale, results are not often spectacular. Crealism is a self and at times ascetic discipline in a world where lasting complicities are rare (the competitive urge has colonised each and every circle, including those where tradition would least expect it), where the cold impediments are frequent (stupidity and indifference) and where the founts of melancholy are omnipresent. But crealism is also a sensible and mental ecstasy, a source and a manifestation of joy.

4. Crealism establishes the primacy of creation at the heart of the being and far from destining itself to the artistic subjects only, it concerns the dynamical extension of living territories, a collective praxis of singularity, which can be tried. In that sense, Creality is an unpredictable blooming, a quicksilver-like fabric of interrelations meant to be non deterministic, whereas Reality is its compost, its framed automation.   

5. For the ones who believe in « God », crealism assumes « He » is not fixed once and for all. His identity keeps evolving together with his co-creation by his creatures. The universe is a musical score in constant re-composition, among the course of which, improvisation is always possible. We are all more or less divine depending on the moments of our life, at times eager sleepers, at times Creality actors and sense-givers. The access to the lucid dialogue with the loving and magnetic forces of the world is easier when the subject follows some kind of non mimetic asceticism and masters his consumption and regression drives at the price of a constant renouncement to the Pavlovian (dis)pleasures. Not that easy a thing because the totalitarianism of muck and consumption is constantly enrolling us, exciting our neurons with apparently contradictory messages driving them tired (fake freedom of choice between hygienic and yukky). Every day, the capitalist system spend huge amounts of money on lobotomising us, but fortunately, should a person be retarded, there would always be something mental about that person. 

6. Against the castrations of the scornful and sinister wing-breakers, against the deceiving advertising demands intruding on our privacy, crealists have always been giving up somehow on standard comfort (some kind of luxury is however essential to them). They have been filtering the being, voicing out loud chaos and refining it. Let’s follow their example, or let’s bear again and again the schizo-neurotic consequences of a world we made stagnant because of our abandoning it, because of our collaboration to the marketing misery, because of the dull and faking emulation, because of our submission to money we mix up, as Marx said, with others. Acting or enduring the daily shame that soldiers (both men and women) of the class society are trying to impose on us. Becoming wizards and diviners of forms, intensities and coincidences, rather than accepting the humdrum codes of an era glutted with dead ends.

7.  A situation of bubbling infatuation, synchronicities, a longing for justice beyond pay claims, a beautiful joust between noble adversaries exempt from hypocrisies. Everything but the pusillanimity of wasted impulses, the moronic stimuli and the craving and maudlin and sniggering and fatalistic stupidity. Is History sad ? Deleuze said: “History refers only to the amount of conditions, as recent as they might be, from which we drive ourselves away to “become”, that is to say to create something new”.

8. Crealism is a policy of Reality as co-creation in process, in which the coherent and active subject holds a co-central place together with the cosmic harmonium, in which imagination, passion, will, art, desire, love are unceasingly redefining, now and in deeds, the conditions of a possible life free from alienation, of a free existence.

16:30 Publié dans philosophie | Lien permanent | Commentaires (0) | Tags : crealism, manifesto, miranda | |  Facebook | |  Imprimer

05/11/2009

The sign of crealism

 



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From the standpoint of poetics and semiotics crucial in realism is the icon. It connotes re-production of reality, reflection (Lukacs), exact representation of life and objecti­ve world. The accent is on “fact”, data, event, on artist as a “mobile mirror” (Sten­dhal). Priority is given neither to the signifier nor the signified but to similarity of the signifier and object. Art should be “connected with life” in all its “nudity and truth” (Belinsky). In addition to the concept of reflection, realism is close to Platonism also in its didactic approach (“the writer is teacher”), reformism (“to improve society”) and “pragmatism”.


In modernism the sign is an index. It doesn’t reflect but indicates. It is referential, in-dictive (un-said), associative, indirect. Everything is indexed (story, emotions, cha­racters…), suggestion, allusion, allegory, hint… It is important to point, not to prove. Modernism develops and search for para-language, literarity, silence. Index represents reality as flow and permanent streaming, em­phasizing sophistica­tion of artistic work (artism)… pointing to the writing and artist rather than to the external world.


For postmodernism the sign is the idol, “phantom”, illusion, icon of something what doesn’t exist in reality (pagan statue; icon of god) – simulacrum. Idol implicates ideal without real, hyper, pseudo-reality which is “more real than reality itself” (Baudrillard) where the sign is “the purest and least legible form of domina­tion”. The main canon of postmodernism is cenon. “Algebraization” of semio­tics, “geometrization” of poetics, and mathematical models of com­muni­cati­ons… lead to elimination of the language “content”, meaning. Bor­rowed from structuralism the concept of language as central sign system and base for “deco­n­struction”, is now mystified. The result is sifr and cipher, code, system of re­gulations by which the sign is getting its status. This is the starting point of general cenonization, limitless arbitrary game and juggling, elimination of con­text as well as differences among “universes of discourses” (science, politics, ethics, es­the­tics…). Instead of realistic poetic illusion and modernist allusion we got world oblivion and elusion.


Crealism operates with specific symbolic sign – the virtex. This is a man’s (lat. vir) “yarn” (textum), both internal and external. It is a complete net of subjective and ob­jective: mind, meanings, interpretations…; object, signifier, signified…The sub­jective aspects are: project (sketch, plan, intention, aspiration…), disject (all po­tential meanings), conject (hint, contrivance, presentiment). Objective aspects are: inject (mark, imprint, notch…), adject (raw object, material…), traject (instrument, tool, means of connection…).  Newly obtained  creality is insepara­ble union of abstract and concrete, of material and ideal. Virtex expresses syn­thesis of nature and culture. It is free but not voluntaristic and unfounded. It is the imprint of spirit (longing for limitless horizons) in matter and social practice (its te­mporary limits). The spirit transforms the matter from a natural fact to a cultural artifact. Object (as artifact) transports the spirit to its further development. Inten­tionality (of coding and de-coding) enables polisemy, not chaos of meanings. Social practice favors convention not petrifaction of interpretation.


For the artist, virtex is actually vortex, whirlpool, maelstrom, whirlwind… It is his vertex (highest point) and has the greatest density, exceeding one-sided po­sitions of: dominance of the object (realism); dominance of the sig­nified (modernism); domi­nance of the signifier (post­modernism). The logic of crealism is simple enough: sign is created by men and for men. Creation means full connection of the object, the signified and the signifier.



Momir Nikic

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31/10/2009

The world of crealism

 


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The environment of realism is neo-polis, industrial city (“of coal and steel”) and administrative conglomerate. Man has fallen from “divine state” (civitas dei) to the “earthly” one (civitas terrestris). The city is the factor of accumulation (of po­pulation, production, capital, power…) with infernal attributes (cloacae of merciless exploitation, crimes and misery). It is a metaphor for the center, cradle of mechanization, national integration, transports (railways, steamships…), a place full of life, success and unhappiness, incubator of political maturation and conf­rontation… Industrialization “transforms the man from farmer-shepherd to ma­nipulator of machines run by lifeless energy” (Hobsbawm); nation-state destroys burg (“city-state”) and transforms people into nation; urbanization substitutes ordinary man to bourgeois. This is also the end of previous institutions (medieval family, clan, social and manufactural castes…) and affirmation of new values, manifested in unprecedented individualism, secularization, sever competition, division of labor and specialization


Though still maintaining that everybody is, by historical conditions, traveler (“live baggage”) in the train which, by the iron logic of development, rushes into the future… realist lacks the feeling of transition. He uses gloomy colors in painting the big fall in the hell of dehumanization, social underworld, suburbs, sa­na­toriums, jails, workers “caves”, markets and city periphery, scaffolds of civiliza­tion… Mechanization seals everything (men are mechanized in head and in heart as much as in hand – T. Carlyle). Time and space are functions of mechanical (not natural) processes, social (not individual) perceptions, they are changed and shortened but remain separate and objective (external) quantifications.


Modernism is affirmed in metropolis, the heart of monopoles and financial ca­pi­tal, the center of modernization, trade, banking, automated production… No more urbs aeterna but waste land (T. S. Eliot), kingdom of madness (Trakl), apocalypse and chthonic atmosphere, this center has traits of cosmopolis and magically attracts people of different cultures, languages, races, knowledge (it is natural to be a “stranger” or immigrant, as much as being “at home”). In metropolis exist both: the center (permanently dehumanized, with extremely developed bureau­cracy) and the periphery (people from colonies, unemployed, lumpen-proletariat, “bulvarnaya in­teligentia”…). Dominant technologies are: electricity, oil and its derivates, auto­mo­biles and air transportation, wire commu­nications (telephone, telegraph…), mechanized printing press (linotype), film… Modernist movements are internati­onal, developed in crossings of different influences (Paris, London, Chicago, New York, Zurich, Berlin, St. Petersburg…).


For a realist the city was a “raw material”. For modernist it is way of life. Accele­ration, transitivity, transformation of duration into tempo, haste, panic…all these are features of metropolis as well as modernist art. Time and space are interior­zed, becoming continuum (quantum physics), shortened or lengthened according to subjective perceptions. Insecurity, anxiety, instantismsyncope, permanent in­no­vations, experimentation, monographism, introspe­ction… are widespread ten­den­cies. Subjectivization enfolds the “real” image of the city (“the place as it is”) in fog of i-reality (urban life is essentially un-real and sur-real). The city concen­trates all frustrations caused or strengthened by destructions and confrontations, bankruptcy of scientific and social utopias (progress, reason, revo­lution, commu­nism…), devastations of totalitarian projects (fascism, Stalinism…), moral deba­cles of alternative solutions (“welfare state”), construction of new etatistic laby­rinth in which we are prey for the bureaucratic monster… Metropolitan man is neither pilgrim nor missionary of Romanticisms, nor inspector of neo-polis, but migrant, transmigrating person (generally from the world of periphery to “can­cerous centers”), motivated by economic, cultural or political needs. Swinging between two “sides”, countries, social environment… he deeply experiences the crisis of identity and time. But, being modern is inevitability and primary demand, inte­llectual herald (Rimbaud: Il faut être absolument moderne). Modernism is en­throned as “the only art appropriate to the modern man” (G. Stein).


Postmodernist environment is skeno-polis, stage on which everything is sceno­gra­phy, acting, spectacle and spectatorship…It is “fabricated”, simulated commu­nity (pseudo-polis). There is no centre, what remains is only periphery (subaltern, feminism, homosexuality…), marginal, suburbia, sub-cultural. The world is sha­ped by technologies of simulation, manipulation and persuasion (TV, radio, ad­vertising, commercials…). This is a ne­cro-polis where everything dies: man, rea­lity, change, work, production, society, sense, arts


Skenopolis is the empire of the culture of death (Baudrillard) with its necropolises of civilization (archi­ves, museums, galleries…). Their “canonized” pseudo-philoso­phers sing requiem for humanity and perform massive rituals of exorcism, specu­lating that life is a crooked mirror (speculum) in which everything is distorted, mi­rage, the phan­tom in the cave (specus) of shadows. Artists are illu­sionists practicing theurgy, communicating with ghosts in spiritualistic ambiance where all measures and values, plans and standards… are mixed up… In this “city of illusions” all previ­ous relations and values are substituted by production of mirages and values of signs. The postmodern man is only “a grain of masse” and could move (volvo) only as a cell in the mob (volvox). That is not a real movement but vital akinesis, imaginary nomadism, the illusion of crawling without empirical travel (the term tourism is not in favorable), romancing without the aim, going nowhere. Actually this simulation of movement in pseudo-polis is conditional reflex of lost vitality, proof of conviction that everything is mental spinning (cyclism), renovation of myth of eternal returnLe néant (nothingness) is not perceived as the pulse of the world (as in modernist irony) but as the essence of hyper-reality and a pulse of the mind.


The world of crealism is auto-polis, which is community of free human beings, koine and neuropolis. In the age of global communication networks and noetic technologies (computers, Internet, mobile and satellite links, nuclear break­throu­ghs, genetics, nano-world…) the citizen of human city has need and freedom to live both in closer and larger communities (within nets of different levels and qualities of integration, starting from his local commune to the world Community). That man, for the first time ever, is entitled to have a choice, to be in the world even in most isolated places, to act simultaneously in his “little” culture and uni­versal human Culture. He is always in the center of his creative and created world. This is no longer neo-polis, monstrous mega-polis, nor pomo ske­no­polis, but invisible city where all sorts of experiences are to be met, combined and tasted, a junction of material and ideal existences, of real and virtual. Hu­ma­nism and creation should rely on all human potentials (holism). The crealist does not believe in pomo “nomadism” (aimless “wandering”) but in creative mona­dism and noema­dism, inquisitive adventure of cultural in-dividual (permanently mo­ving, end­le­ssly seeking and creating). Being in the world he knows very well his personal, individual res­pon­sibility and ability to create, maintain and develop his freedom and world.


Combining his and others (predecessors’ and contemporaries’) capacities and pro­ducts, he is aware that by creating “for others” he creates for himself (he is ne­ver the same before, during and after creation). His thirst for novelties force him to permanently research, hunt, chase, cruise in time (trough history) and space (vi­siting different cultures). His travels are physical, material (globe-tro­tter) or vir­tual (net-trotter). Always “on the road” he does not lose the starting point (in­herited values) and the target of his endeavor (newly created values). His life is an endless search. Knowing that human existence does not have meaning a priory, he broadens old and creates new horizons of meanings. His credo is not demiourgy (of realism), nor techneurgy (of modernism), nor semiourgy (of post­modernism) but fitourgy (constant and all pervasive creation).



Momir Nikic

09:54 Publié dans philosophie | Lien permanent | Commentaires (0) | Tags : crealism, modernism, postmodernism | |  Facebook | |  Imprimer

22/10/2009

Postmodernism and crealism

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Realism perceives reality as objective and external. Man’s life is manifested in his outer environment, social relations and behavior. The artist acts in the world which is “completely separate”, “independent of our will”.

Modernism makes a turn toward subjective, internal reality. Writer does not exist in the world but world in the writer. Both, impression and ex-pression, pass through the sensorial, intellectual filter of each person. This process changes our cognition and comprehension, as well as our evaluation and creation (hence the demand for “re-evaluation of all values”). Reflection is substituted by refraction. In modernism every individual is the assessor and final judge of reality, and shapes it according to his subjective views.

For postmodernism the world is simulacrum which swallowed the subject, object, reality… Precisely said, reality is “the form of collective fiction” (P. Berger, T. Lucman) enabled and imposed by the process of socialization – institutionalization, communication, “games” – in the first place language games (Wittgenstein). Everything (existence, essence, cognition…) is undetermined, marked with total relativity. Since nothing is certain action, change, value system, assertions (including “truth”, “justice” etc.) are biased instruments of “scientistic” ideological and regional (western) domination (epistemological relativism). In the kingdom of simulation, in which the doubt is hopelessly entangled in aporia, artist could only accept “the rules of the game”, become simulator, producer of illusions.

Crealism affirms creality. Both external and internal reality are interwoven by our action. External reality is non-subjective (as materialists take) or mere construct (according to “radical constructivists”). Internal reality is non-objective (cf. idealists), or simple reflex of genetic factors (assumption of neo-positivists in biological sciences). Creality is reality created by us externally and internally, by our permanent interactions with subjects and objects, with aim to create our human world. This is a new world and world of novelty, open to change, limited only by the extent of our creative potentials. Vital core of any modern wisdom is, therefore, very simple but essential fact: we live in the world of creality, reality created by us. This is the crucial ontological, gnoseological and axiological “secret”. Everything else is derived from this basic fact…


Momir Nikic


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08/04/2009

William Blake

 

 

Quelques créalistes se sont retrouvés au Petit Palais pour l'exposition William Blake. Pas de longs discours pour ce qui relève d'abord du dialogue avec une oeuvre exaltant le pouvoir de l'imagination. J'ai été particulièrement séduit par le tableau dantesque nommé le Cercle des Luxurieux : cette manière de représenter l'humain comme un flux dynamique ensorcelé. En sortant, promenade dans la cour intérieure du Palais, avec au sol ses motifs mozaïques. Ce matin, je constate que la photo que j'ai prise de ce sol, sans réfléchir, fait écho au tableau de Blake...

 

 

 

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11:34 Publié dans philosophie | Lien permanent | Commentaires (0) | Tags : blake, william, crealism | |  Facebook | |  Imprimer