Question: Can We Design The Next-Evolution of Community?

Nova Spivek had an interesting post on Twine:(a smarter way to keep up with what you’re into) that I could not resist commenting on.

Nova Spivek diagnoses:
- Loneliness, social isolation, and social fragmentation are huge and growing problems
- Our present communities are not working and most are breaking down or stagnating.

What now in painting? Part 2: The visual form of meaning.

Summary of Part 1:
= Art as an illustration of the worldview of the men of knowledge of the day:
........... but who are the men of knowledge in late modernity?
........... artists have to build up their own knowledge base
= Knowledge as the outcome of:
........... an accumulation of knowings by scientists.
........... a philosophic vision of the human atom as particle of an unattainable whole.

Loss of certainty and the purpose of life?"

This post is a follow-up of my commentary in StumbleUpon about Christianity finds a fulcrum in Asia by Spengler that was published by AsiaTimes.
________________




"Christianity is the great liquidator of traditional society, calling individuals out of their tribes and nations to join the ekklesia, which transcends race and nation." writes a proud Spengler.

The plight of the visual artist in late-modernity.

Seen from a historical perspective the form taken by visual art appears to have greatly evolved over time while its function has nevertheless remained constant, indeed, along 99.99% of its timespan visual art has been the visual representation of the worldview of the men of knowledge of the day, by the artist, at the attention of his fellow citizens.

From early on humans understood that they could not survive by themselves alone in the wild but that they needed to be part of a societal grouping to assure their reproduction and that of their children. Societies were thus a fact of life for humanity since way back in time as it is also for most other animals. But once in existence societies behave like ensembles on their own and devise strategies to preserve their own reproduction. It's inside those societal strategies of reproduction that visual art finds its roots.

Through adaptation and evolution the eye evolved as the most important human sensor. Since millions of years each individual has been bestowed with vision to protect himself from the dangers lurking in his immediate environment and this, in turn, has shaped the foundations upon which humanity has developed its understanding of reality.

Under animism, along far more than one hundred thousand years, primitive arts have represented the worldview of the shaman. The role of the shaman (the man of knowledge within the tribe) was the formation of knowledge about what reality is all about, that means about all aspects touching the existence of his tribe. He then used visual illustrations, symbols, and signs to transmit the essence of his acquired knowledge to his fellow tribesmen. The sharing of those visual signs and their content was unifying the tribe behind a common set of beliefs and the tribesmen reinforced that belief through the use of those visual signs as decoration of their daily use utensils. Both the visual creations by the shaman and the functional creations by the tribesmen constitute what is commonly called "primitive arts" or "arts premiers" (following their decision to open a museum especially reserved for "animist arts" and in order to avoid being criticized for Eurocentrism, the French lately termed those arts "first arts" or the ones that came first on the human societal evolutionary ladder).

It always struck me that there seems to be such a strong resemblance in the content of animist works. African, American Indian, Indian India, Chinese or anywhere around the world animist works may vary in their form, the materials they are realized in but the story they represent for the observer to see are invariably identical: the interconnectedness of all living and inanimate elements present in the environment forming like so many yarns woven together in the gigantic tapestry of the one thing all fell they were part of, I mean, the ultimate reality; the Whole, the One.

Under religion, during a few thousand years, the creed has been the exclusive object to be represented visually. With the unification of tribes as a consequence of the larger population densities unleashed by agriculture the unity of content found in animism vanishes and is replaced gradually by parochial foundational stories used by the local men of power to strengthen their control over their subjects.

This is the time when the illustration of the worldview of the men of knowledge started to specialize and gradually the making of visual signs established itself as an autonomous societal function. But this autonomization has been a very slow process that was only completed, in Europe, during the late Middle-Ages.

The separation of functions between knowledge production and its diffusion through visual signs was initially realized amongst the monks. Some specialized in learning and developing the creed while others specialized in spreading the foundational story through speech and visual signs. Seen that the only literate beings were the monks and priests visual signs took preeminence in the diffusion of the creed among the populations of Europe. When cities started to develop at the interstices of freedom on the periphery of the manors, commoners gradually took over this image making function from the monks which thus established the craft as one among the many others.

What is remarkable in this process is the extremely low social esteem that was recognized to the image making craftsmen. This stands in sharp contrast to the role of the artist under early modernity. The entreprizing aristocrats and new rich merchants accumulated their wealth against the will of the church which was forbidding banking activities and greatly discouraging the accumulation of material possessions. This acted like a powerfully incentive on the new rich to start spreading their own worldview. Image crafters were then hired to represent the virtues of individualism that ultimately procured the wealth of private property (portraits of those living in the mansions, landscapes around the mansion and stills of what lay on the tables in the mansions). One can easily imagine that the inquisition did not see with a benevolent eye its image making crafters passing at the service of the infidel, the enemy, and its punishment through fire acted as a severely inflating factor on the remuneration of those image crafters who dared brave the inquisition by jumping over board in the camp of the new rich. This incentive of very high remunerations fast changed the perception of the social status of the image crafters. Wealth for themselves procured them also gradually a high prestige and their craft soon was to be called art and themselves artists. This is indeed the origin of the words art and artist as we understand them under modernity.

Nothing is being meant to last eternally and so the high remuneration that went with the exercise of the artist's craft, in early modernity, would soon be memory. From the wealth and prestige of Rubens history surfs indeed very fast towards the misery of Van Gogh.

The combination of the logic of capital and philosophic rationalism extending in applied science eventually ensued in industrialization and democratization. This process that expands approximately along two centuries resulted in the separation of the men of power from the men of knowledge which, by the way, procured to the visual artist the freedom to represent whatever he wants. The new men of knowledge, the scientists, were left to compete on the "level playing field" of the free market with anyone presenting a foundational story about reality.

In this process visual artists have gained total freedom over the content of their works but the substance of that content had vanished and thus their market was gone, they had lost the societal function that had been theirs until then. But, for sure, nothing changes overnight. All movement forward continues for a while even after the energy prompting its movement has been cut. Inertia sets in and inertia conquered modernity or to be more precise the mature stage of modernity what some also call "high modernity".

High modernity can be summed up as a short period of search, by "thinker-artists", for a new narrative about what is reality. The whole enterprise was centered on content, on meaning, and form was only of marginal concern for the artists themselves. But force is to recognize that the content of most of the works from that period does not carry forward much helpful meaning and that it is their form that is being remembered in late modernity. As a direct consequence of this paradox, visual arts lost:

- any trace of a narrative: the naive belief in an "end of history" did not leave any space for another historical narrative and whatever the artist does is considered sufficient to be called art.

- any trace of a public: from the onset of a high modernity Paul Klee already noted that "the people are not with us" (Uns tragt kein Volk)

Having lost any notion of a narrative (a story about what reality is all about), having lost their public, the question that begs for an answer now in late modernity is "for who do visual artists continue to create?".

Answering this question comes down to isolate the different market segments where the creator, the artist, can try to place his wares and this should also shed some light on the content of his works.

1. The market for interior decoration expanded from being exclusively reserved to luxuries for the rich to a mass market for the middle-class that was then satisfied by the proliferation of cheap prints and cheap originals. The profit imperative of the corporation being what it is the bulk of the prints on the market are mass copies of works that fell out of intellectual protection. Some artists experiment with limited edition copies of their works but, all in all, the marketing imperative most often leaves them in the quandary of having to decide being an artist or being a marketeer. Lately the production of cheap originals (copies or works in the style of...) has been delocalized to China and other countries of the South. You can buy an excellent copy of the Mona Lisa in Beijing for 50 US dollars frame included. Only the frame costs more that that in the West. Furthermore the level of technical skills of painters in the South is rarely seen nowadays in the West. Copies and works "in the style of..." relate to subjects of the past: portraits of those living in the mansions, landscapes around the mansion and stills of what lay on the tables in the mansions. This does not fit the content of contemporary art works. In sum the process of delocalization has left many Western painters discovering the hardship of having to sell their own wares at a Chinese price.
2. The memory of our culture and the cultural importance recognized by history to artworks is being cultivated in Western education systems and speculators equipped with PR and advertisement exploit the memory of that cultural importance to make fast bucks by speculating on the value of works that they buy initially for a cheap price. Charles Saatchi is a perfect example of this new group of art buyers. What counts here is the generation of hefty returns. Art is of no importance. Charles Saatchi candidly describes the criteria that motivates his purchases as a certain quality to generate scandal, to shock the observer and he lately declared that English art schools have lost their prime strength and fallen behind their successes of the eighties and nineties when he bought and rendered famous just graduated art students whose crap contained the genius to repulse the observer, and provoke his angry reaction, which in finale is what made the crap to the news bulletins. So if artists want to be selected by Saatchi or his peers the lesson is absolutely clear. They need to provide substance for the news hour. Scandal leading to shock and provocation or whatever else will catch the eye or the ear of the TV news channels will do. Charles Saatchi's company will then amplify the noise which will lead to a surge in value of the works he presents to the public and when the value is ripe to his taste he pockets the fantastic returns on his initial small investment. Saatchi justifies his move by saying that the high returns he pockets will allow him to buy so many more works from beginners. I have nothing against speculators but I have something against stupidity. Scandal never will qualify as art, at least not as visual art, but perhaps could it be conceived as the art of marketing. Why can't the speculators reintroduce art and its meaning in the art market? The answer here seems to be double headed. For one it comes from the artistic illiteracy of the speculators. But again I have nothing against speculators per se. They are indeed not responsible for their own illiteracy. Western societies, as a whole, have indeed become artistically illiterate. The first to blame are the media companies that want to give their poorly educated viewers what they most want, scandal and sensation and the second to blame are the bureaucrats of the artistic institutions. They are the ones who make all the noise about art and they just don't get it. Their talk is most generally total emptiness. Only the noise of words rattling onto one another. But where is the meaning in all their speeches and writings? In the end we have nevertheless to acknowledge that no-one is really responsible, for, it all boils down to the logic of capital that drives us all. In the face of their competitors the medias have to generate returns and the artistic institutions and their bureaucrats have to please donators for the sake of their donations.
3. Galleries live from sales of art works. Not surprisingly most owners focus their attention on what sells and force is to observe that what sells is conventional, in other words, what sells is what is already recognized. Those trying to promote artistic substance are a small minority. In the present overwhelming confusion, about what art is all about, it goes without surprise that this small minority is preponderantly poor in capital and in consequence its marketing reach is rather limited.
4. The art bureaucracy consists of speakers and writers making noise about the works of artists. It starts with art critics and commentators in the media and finds its true meaning in the functions serving, the modern form of public art temples, the museums. Money is the language of power and speculators and merchants target those modern art temples with the entirety of their power. Having their artistic possessions find a place in those temples consecrate their value in the eyes of all... The artists who might want to target that segment of the market better be advised first to try to be enlisted by a powerful speculator. Their direct encounter with this bureaucracy could at best only result in the sharing of some charitable proceeds in the form of meager grants or other.
5. Are there still some art connoisseurs out there? Yes they did not disappear all together. One still can find some specimen here and there but most generally they are not that wealthy, albeit, they are well educated or cultured. Those rare specimen of art connoisseurs are the best that can befall an artist. They know what they speak about and for artists they act as stimulating intellectual muses.
6. The last segment of the artist's market is himself. He will not generate any income by pleasing himself but it nevertheless remains, and by far, the most rewarding experience for the artist to try to understand the reality in which he struggles and ultimately see his understanding becoming the generator of the content of his works. We artists gained our freedom from the men of power and the men of knowledge but in this process we lost a given content and now our only escape from absurdity is through the generation of our own knowledge base. In our present societal predicament targeting one's own productions for him(her)self has the best chance to lead to a dialog between the reason of the brain and the execution of the hand. This is also the only way for the artist to regain a clear understanding of the societal meaning and function of art.

Modernity has triumphed:

- economically: the logic of capital substantiates all our social interactions.

- educationally: economic functionality obliging; science and its applications are transmitted, to one degree or another, to all of us through our education systems.

- philosophically: we all have fallen, to one degree or another, under the charm of rationality but to our surprise we also discovered that the growth of knowledge, predicated by rationality, is also expanding our field of ignorance.

But modernity never morphed into a worldview accessible to all nor did it ever give a foundational story of itself for all to share. Max Weber noted that "scientific rationality offered us artificial abstractions unable to teach us anything about the meaning of the world". Here we are thus left spectators of the utter limitation of modernity wondering "What now?".

With modernity painters gained the total freedom to represent whatever they want but never were they been offered the intellectual tools to come up with images corresponding to the reality of their times. What ensued was "whatever is art". Marcel Duchamp had it all seen come down on the art world and ridiculed the process by exhibiting a toilet seat that critics baptized "readymade". Profoundly distraught by this recuperation Duchamp quit painting for chess.

With late modernity we witness an initial sketching of the road of humanity towards its future in the form of an interaction on a worldscale of 3 determinant factors that will gradually displace modernity:

- a process of scientific revolutionizing that is churning out ever faster new "knowings" or bits of knowledge about the working of reality.

- the impact of the side-effects of modernity on life on earth will definitely mould our ways of doing and thinking in the future.

- globalization is expanding the frontiers of modernity to the whole world and as such we are assisting at a kind of radicalization of modernity. But ultimately this will project on the whole world the civilizational, cultural, societal and other values of 85% of the world population that was until now only experiencing the destructive impact on their traditional structures of a dominating European or Western modernity.

We have entered an age characterized by a total absence of certainty that will transform into a maelstrom of destruction of our past givens and creation of new forms. This process that could well take decades if not centuries to complete will end with the sharing, by all, of a new paradigmatic vision of reality; a common worldview.

It is the understanding of this process that today offers a chance to the artist to engage into a dialog between the reason of his brain and the execution of his hand. Starting from the self the artist then regains the pleasure of understanding how his creations can fit and play within the context of his society.

That's where the artistic adventure finds a new start, a societal meaning, letting us quit late modernity and entering the unknown of what comes after...

Here are some sketchy trails into that unknown:

1. On the front of ideas the dualistic certainties founding our views of things (beginning versus end, good versus bad, white versus black and so forth) will be displaced by more interactive, polar, circular or cyclical visions of change coming to us from the civilizations of China, India, Africa and south America as well as from advanced science and a rediscovery of animism.
2. On the front of our environment the fact that reality is made-up of systemic complexity, or complexity within ever farther-apart ensembles interacting upon one another, will gradually be firmly inserted into our minds, albeit, under the impact of necessity.
3. On the front of our macro universe will gradually emerge the certainty of our ultimate incapacity to apprehend the whole. Understanding the working of the parts will never indicate us if the whole, we are such a tiny particle of, is a pink elephant nor, if it really is a pink elephant, how many family members it lives with.
4. On the front of visual representations our confrontation with Chinese philosophy and Xieyi painting (writing down the meaning) will help us reassess the link between knowledge and the act of painting and ultimately its societal function. Xieyi painting was never a specialization as such. It was a practice by the men of knowledge on a par with music, philosophy, history, strategy and other.

A vision is slowly sinking into my mind; under the urgent necessity of clarifying his own role the artist is slowly weaving the dress he'll be wearing as a kind of shaman for postmodern times.

On ART in the future.

This article is a follow-up of:
- What is modernism after all?
- Scientific visualization. Is it art?
- About the ways of seeing reality.
- Soulless science and rationalism
- Etymology to the rescue of sense in art.



In the air of our times something is brewing that we still can't see nor comprehend very well but that is bound to change drastically the way we understand what is reality. Four factors, it seems to me, are the ingredients of that brew:



1. The mis-understanding in Late modernity that "art is whatever".

If we agree with Marcel Duchamp that "In fact until the last hundred years all painting had been literary or religious, it had all been at the service of the mind but this characteristic was lost little by little during the last century" then we have to answer the question "how did art come to forget about its function?". Answering that question imposes us to resolve the problem of the mysterious disjunction between power and knowledge that happened sometime during modernity:

- when the worldviews of the men of knowledge stopped to be imposed on everyone by the men of power. That is when visual artists were freed of their ancestral obligation to illustrate subjects that had always been imposed on them. In this freeing the artists got to illustrate whatever they wanted...
- when freed from an imposed worldview everyone started to consider that their own views were reflecting the "truth" about "reality" better than the ones of the others.

This was indeed the fertile ground out of which societal confusion would grow and develop unhindered into the aberration of late modernity that is characterized by a complete societal imbalance, extreme individualism tilting toward the atomization of our late modern societies. Such an imbalance is deadly. We are indeed acting as if we were atoms of a "material entity" that were going it their own way. But this is pure delusion for the atoms are nothing on their own. The nature of their being is no more than to be a particle of the "material entity" they are a part of. That is what gives sense to their own existence. Going it their own way the atoms would only succeed to destroy the "material entity" they are a part of which would be synonymous with their collective suicide.

The history of visual arts after the second world war follows that path toward atomization and it is in this particular context that the art market imposed its rules of value. Those are rules of financial value that imposed themselves over an atomized visual art landscape wherein the idea that "whatever is art" finally led to that other idea that "art is dead" for the only reason of the loss of any societal functionality. In Danto's words "Art today is produced in an art world unstructured by any master narrative at all, though of course there remains in artistic consciousness the knowledge of the narratives that no longer apply". From the recognition of the disappearance of any societal functionality at all Danto then concludes: "I myself argue here and in a number of places, that the end of art has come, meaning that the narrative generated by the concept has come to its internally projected end". (note 1)

At that point "whatever is art" became the norm in the game of visual art creation... but it seems to me that the theoretical foundations bringing about "whatever is art" are ultimately very thin and fragile.

Through the whole timespan of human history visual arts have always been a function of society.
I mean that our visual sense is the most powerful sensor that we humans have at our disposal and societies needing some gluing of the individuals that compose them, through the sharing of a common worldview, in order to possibly achieve their reproduction, well because those reasons, the men of knowledge who produced or held the keys of the common worldview of a given society used images to convey the content of their worldview for easy sharing by all the other members of their society. This process has been going on since the beginning of the history of mankind till sometime around 1900 in the Western world and I posit that the necessity of this process has not vanished, that on the contrary, it has never been more urgently needed than in late modern societies.

The question that arises then is "what is the worldview" that should be illustrated by visual artists today? Furthermore where are the men of knowledge of our times? In short the answer is that, if there are still some real men of knowledge, societal atomization has put them on a level playing field with all kinds of charlatans and their worldview is being overshadowed by the noise and furry of the cacophony resulting from the public debate.

In this particular societal context visual artists are like being blinded. I posit that the only and exclusive answer to this blinding is knowledge about the workings of our societies and the road to the future they are on presently.



2. Scientific imaging is confronting us with an exponential rise in realist images of things our eyes can't see directly.

The complexification of the content of available knowings often gives to an image a higher communicational trust or skill than a thousand words. Scientific literature thus logically embraced the trend with no restraint. Such images accessed through the lens of a telescope give us views on the macro realm, accessed through different kind of lenses they also give us views from the micro realm or simply of abstract thinking or of complex processes. All this has been rendered possible by our use of electronic microscopes and telescopes or databases and mind mapping software or new digital captioning technologies that appeared along the last two decades.

Technology liberated us from the limitation of our visual sensors (after all they were only tools given to us for assuring our individual survival) and multiplied the scope and breadth of our observation field. We are no longer bound exclusively by what our eyes see and their transmission of signals to the brain for it to process orders for the defense of the body. The brain is now, directly or indirectly, creating images for the eyes to see allowing them to discover dimensions of reality that were inaccessible to them before.

With the detachment of only a very short period of time since such images became accessible to the public we nevertheless already had the chance to become aware of the fact that such images are ushering us into a whole new visual dimension that somehow reflects the futility of traditional first degree images, realist photos or paintings of landscapes, portraits and stills.

The newly gained profound depth of comprehension about reality, that we gain from such images, instills in our minds the idea of a very strong positivity emanating from such postmodern realism. Unmistakably this is bound soon to shame all those who theorize, practice and finance the "whatever is art?". We'll then witness, within a relatively short timespan, the fall of "whatever is art" into the dustbin of history in the form of a "liquefaction" of modern art assets that had been thought of so highly by the bureaucrats of the art market.

But far more important than this loss will be the fact that the postmodern realism that I here describe shall be instrumental in devising for us a whole new paradigm about "what is reality".

Here follow some examples of such postmodern realist images.

Composite Crab. Credit: NASA - X-ray: CXC, J.Hester (ASU) et al.; - Optical:ESA, J.Hester and A.Loll (ASU); - Infrared: JPL-Caltech, R.Gehrz (U. Minn

Pinwheel galaxy. Nasa / ESA Hubble Space Telescope image.

Botanical Visualization of Huge Hierarchies. Author(s): Ernst Kleiberg, Huub van de Wetering, Jarke J. van Wijk. Institution: Department of Mathematics and Computer Science - Eindhoven University of Technology

Cystine a amino acids (very small biomolecules with an average molecular weight of about 135 daltons. © 1995-2006 by Michael W. Davidson and The Florida State University All Rights Reserved.

Taurine a amino acids (very small biomolecules with an average molecular weight of about 135 daltons. © 1995-2006 by Michael W. Davidson and The Florida State University. All Rights Reserved

The least we can say after viewing such scientific visualizations is that the images they stumble upon are very seductive from an artistic point of view. And what amazes me the most is that those images are often far superior, in artistic terms, than much of the art produced by contemporary artists. Just for the sake of the experience compare the painting here under by Willem De Koning that sold recently for $63.5 million to the images here above. Everyone, not just the art specialist, shall be able to form valid conclusions. I hate the idea of appearing here to downplay a fellow artist, this is not my intention, but I guess that Willem De Koning would have been the first to poke fun at those who throw such amounts of money after that particular work of his and he would also have been one of the first to recognize the importance of scientific visualizations for the visual arts.

Willem De Kooning Revocable Trust/Artists Rights Society, New York. David Geffen sold Willem De Kooning's "Police Gazette" for $63.5 million to Mr. Cohen, the founder and manager of SAC Capital Advisors in Stamford, Conn.

3. The objectification of beauty.

Beauty is most often presented, by the art market bureaucracy, as being contained in the eye of the beholder meaning that it is thus purely a subjective matter.

A few days ago the National Geographic published an article by John Roach titled "Your DNA Is a Song" that should awaken us to the real possibility that beauty, musical or visual, is simply the memorization somewhere inside our DNA of the musical sounds and visual patterns that the principle of life successfully retained along the whole time span of evolution. This comes, kind of, substantiating what I'm writing about in my book Artsense.

Following this idea that visualizations shed more light, and faster, in the brain of the observer than a thousand words biologists started to convert DNA and its components, amino acids and proteins, into musical compositions (see notes 2, 3, 4)

"By listening to the songs, scientists and students alike can hear the structure of a protein. And when the songs of the same protein from different species are played together, their similarities and differences are apparent to the ear. " 'It's an illustration transferred into a medium people will find more accessible than just [text] sequences. If you look at protein sequences, if you just read those as they are written down, recorded in a database, it's hard to get a sense for the pattern.' " (see note 5)

Here are a few exemples of such sound conversions:
- the amino acid scale by M. A. Clark. Texas Wesleyan University
- Drosophila Protein by M. A. Clark. Texas Wesleyan University
- Heat Shock Protein by M. A. Clark. Texas Wesleyan University
- Collagen PBD by John Dunn

One of the most prolific in the field, and an artist on his own, Nobuo Munakata shows that musical sounds can in turn be converted into visualizations and thus help the brain to form an easier interpretation of something that initially seemed quite abstract in words and letters.
Three Faces of Genome Guardian: P53 Tumor-Suppressor Protein (3D, 17.1MB) by Nobuo Munakata.

Those conversions from biological code to sound and then to image are as valid a representation as the language of mathematics or physics or chemistry or biology. They indicate the background noise of phenomena, and also their own conversations. As such those musical and visual conversions are an integral part of our tool-set for describing reality and they suggest that our universal background is interwoven by an infinity of particles and ensembles that are interacting upon themselves like a giant interactive multimedia orchestra that is projecting the sounds and lines and forms and colors in the memory of all its actors.

In substance, I posit that, if we are all attracted by musical beauty it is because it reproduces the harmonics and rhythms of successful evolution and the same goes for visual beauty. By that I mean that visual signs are equally under the determinant influence of all forms and lines and colors that have been successfully retained along the whole evolutionary timespan of the principle of life. All of us humans are thus somehow un-consciously under the influence of some kind of automatic pilot inducing us to appreciate the successful evolutionary forms, colors, lines, harmonics, rhythms... and this pilot is our DNA-RNA and its genetic code that stores the memory of the entire evolution of life on earth.

We are also, let's not forget that point, induced to abhor all unsuccessful forms, colors, lines, harmonics and rhythms. Such unsuccessful sounds are quite easily recognizable, for, our ears do not seem to tolerate them, as if it were a question of hearing-physicality, while in the visual realm acceptable signs seem more dependent on our cultural build-up that spans tens of thousands if not hundreds of thousands of years back which should explain why our eyes are able to look at whatever. It is indeed our value system that makes us eventually reject an image or a visual sign and not our physicality.

What I write here is not something so radically new. It is only the transcription of an eternal artistic truth into a present day form that grows out of our contemporary knowledge-base. Kandinsky is assuredly one of the thinker-artists who best described this idea of objective beauty. "Every work of art is the child of its age and, in many cases, the mother of our emotions. It follows that each period of culture produces an art of its own which can never be repeated. Efforts to revive the art-principles of the past will at best produce an art that is still-born. ... There is, however, in art another kind of external similarity which is founded on a fundamental truth. When there is a similarity of inner tendency in the whole moral and spiritual atmosphere, a similarity of ideals, at first closely pursued but later lost to sight, a similarity in the inner feeling of any one period to that of another, the logical result will be a revival of the external forms which served to express those inner feelings in an earlier age. An example of this today is our sympathy, our spiritual relationship, with the primitives. Like ourselves, these artists sought to express in their work only internal truths, renouncing in consequence all consideration of external form." (see note 6)

Kandinsky's idea of internal truths is founded upon a firm conviction that something objective is hidden deep inside all of us. But he very well knew that in his age those internal truths remained hidden and that "this all-important spark of inner life today is at present only a spark."

Whatever the advances of science one hundred years after Kandinsky wrote "The art of spiritual harmony" we still, today, have not grasped the profundity of his intuition.

Notwithstanding our general ignorance it is nowadays a well accepted fact that life is governed by forms, colors, lines, rhythms and harmonics that are not directly accessible to human sensors. We know they are there but that is about all we know.



4. Globalization and the great melting-pot.

"Whatever is art" shall not vanish from our sight like erased by a single swoop of my words nor shall scientific imaging be integrated into the consciousness of all by any more swoop of my words nor shall the objectification of beauty materialize in knowledge made of stone.
Those three seem to be, no more than a sign of the times under late modernity in the Western world which including Japan and some other isolated countries (the North) represent barely 15% of the world population and this figure is bound to decline further in the foreseeable future.

The brew of those three ingredients, in the North, is a process that will be taking a long time before completion. It would be day-dreaming to believe that we'll be given to taste it soon and there is one more complication. Even if we succeeded societally, here or there to near completion of this postmodern brew, force is to recognize that its taste should not be mature, for, if modernity could mature and even reach its late stages within the confines of one, two or three regions, in contrast, postmodernity is a global affair that comes after the completion of the expansion of modernity to the 4 corners of the world. Post-modernity will definitely include much of the thinking and philosophical background of the Chinese, and the same I'm sure can be said of, the philosophical background of the Indians, the Africans, the Arabs, the South-Americans.

What I mean to say ultimately is that the Western intelligentsia's approach towards postmodernity is definitely totally out of touch with the reality of 85% of the world population and in the present times of capitalistic globalization it makes no doubt at all that such a Western-centric vision is doomed. See the visualization of the evolution of the distribution of economic power around the world given in this stunning eight images slide-show of Der Spiegel Online: "Postponed Power: The Rise of China and India"

World in 2005. Copyright Der Spiegel Online

World in 2050. Copyright Der Spiegel Online.

I'm not a divinator, I can't see into the future. But I believe that, out of the process of change that is taking place nowadays within the timescale of the "long history", we can determine the factors that will be most determinant in the shaping of the future of humanity. Some of those factors are already visible for those who care to accumulate the necessary knowledge and who furthermore care enough to look attentively at what's going on around us today and I firmly believe that the 4 factors that I introduced here above constitute the core of what lies ahead in the making of our future visual reality.

As a visual artist I feel that it is my duty to understand the following questions:

- What is art?
Answer: art is the illustration of the worldview of the men of knowledge of the day at the attention of their contemporaries. So who are the men of knowledge of our days? I dare to venture that we are like in a "hole" in late modernity not knowing clearly any longer who are the men of knowledge of the day. For sure we all know that the scientists are accumulating vast pools of "knowings" but we also have this confused feel that somehow they do not succeed to transform those "knowings" into workable knowledge that could transform into a worldview to be shared by all.

- What is the knowledge of our days?
"Men of knowledge" are no longer readily available in the North, as was the case since the start of humanity's history till somewhere around 1900. So the only valid answer at the disposal of visual artists is to accumulate by themselves the necessary "knowings" in order to weave a valid knowledge-base that they could then transform into visual signs or signals of the worldview of the future that is starting to form in our days.

Marcel Duchamp said no less when referring to painters as "being dumb as a painter"... The drama of our age in the visual art world is that schools and art academies only teach kids the use of a tool: a pencil, a brush, a computer program or else out of any understanding of what the use of such tools should be set to accomplish. But the problem runs deeper than the education system. It is indeed the whole bureaucracy of the art market that does not get it. The art market pretends it is content driven but very few critics, dealers and even less buyers are intellectually capable of understanding let alone putting a valid interpretation of the working of reality into their words to communicate them to the public and the public art institutions.

Artistic qualities are not being determined by the art market.

Only time shall determine what remains artistically valid half a century, a century or more, from now. But again time is only a convenient way to put things, for, it is the knowledge shared by the people of the future that will in fact determine if a work realized today has its place in front of their eyes. If we are really conscientious of that very fact then I believe there remains only one choice for all those who are active today in the art world and that is to accumulate the necessary knowings to grasp the wave of humanity's "globalizing worldview"... and then to surf on that wave as best as one can.
____________




Notes:

1. Arthur Danto. "After the end of art". Princeton paperbacks. 1997.

2. Amino acids.
Amino acids have the following general chemical structure (C = carbon, H = hydrogen, O = oxygen, N = nitrogen). All amino acids have the same general structure, but each has a different R-group -- the chemical group represented by the designation "R".
The carbon atom to which the R group is connected is called the alpha carbon. See table of amino acid R-groups

3. Proteins.
Amino acids are connected to make proteins through a chemical reaction in which a molecule of water is removed, leaving two amino acids residues (i.e. what's left when the water is removed) connected by a peptide bond. Connecting multiple amino acids in this way produces a polypeptide. Proteins are polypeptides composed of 20 different amino acids.
The linear order of amino acids in a polypeptide is called its primary structure. The primary structure is represented in the protein databases by a string of single letters, like a long word or sentence. The order of letters is the order in which the amino acids were strung together when the polypeptide was synthesized.

4. DNA.
DNA is a two-stranded molecule. Each strand is a polynucleotide composed of A (adenosine), T (thymidine), C (cytidine), and G (guanosine). Each strand has polarity and runs antiparallel in such a way that one strand runs 5' -> 3' while the other one runs 3' -> 5'.
One strand of DNA holds the information that codes various genes; this strand is often called the template strand or antisense strand (containing anticodons). The other, and complementary, strand is called the coding strand or sense strand (containing codons).
The Genetic Code is known as "universal", because it is used by all known organisms. So the genetic code is the code of the principle of life. The universality of the genetic code encompasses all animals (including humans), plants, fungi, archaea, bacteria, and viruses.

5. "A Protein Primer": a Musical Introduction to Protein Structure.
An accessible presentation by M. A. Clark. Texas Wesleyan University

6. Vassily Kandinsky. "Concerning the spiritual in art".
Dover publications.1977. (First published in London in 1914 under the title "The art of spiritual harmony")
____________________

Technorati tags: art, modern art, art theory, visual art, worldviews, society, power

What is modernism after all?

When placed in a societal perspective (economic, social and cultural history) it seems to me that the seeds of modernism were planted with the plunder of Middle-Eastern luxuries during the crusades and the flow of trade that ensued along the following centuries.What I mean to say more exactly is that Modernism is one episode within the historical era of Modernity that starts with the long distance trade that was unleashed by the crusades. Viewed through the lens of the very long history Homo-sapiens' evolved indeed societally from:

1. bands to tribes. Homo-sapiens' first true model of society were tribal non-power societies.  This was when the genie Homo distinguished itself from the other animal species by evolving societally, through the usage of knowledge, from bands of individuals coerced under the authority of an alpha-male into tribes whose members were considered to be equal and so decided on all matters pertaining to their group at the unanimity. Tribal societies shared the vision of reality of their shaman and this glued the minds of tribesmen inside a commonly shared worldview. And the substance of this worldview was shared by tribes all around the world while variations in the form of its substance adapted it to local contextual settings. Anthropologists refer to this worldview as animism or shamanism. Tribal (wo)men of knowledge were those who initiated the practice of image making. It was their instrument per excellence to instill their vision of reality in the minds of their fellow tribesmen. Later that practice of image making was referred to as being art sometimes during the Renaissance in Western Europe. And once the nations of the rest of the world joined Modernity they also  inherited this appellation.
   
2. tribes to power societies: demographic growth eventually destabilized the golden rule about the size of tribal societies and after thousands of years of trials and errors larger groups settled for institutions of power in order to reproduce their societies over the generations:

• the first stage of power societies was the era of empire and kingdoms that started approximately around 5000 Years Ago and came to an end first in Western Europe sometimes in the 13-14th centuries. The rest of the world later followed in the footsteps of Western Europe. The worldview shared by all during the era of kingdoms and empires was religion that glued the minds of the individual atoms and the art of that era is religious art illustrating the creed... China was an exception to that principle.  First the worldview of its empire was not religious but philosophical. Secondly its men of knowledge were the mandarins or scholars who were especially educated to serve the institutions of the empire and art was one among their practices. And so Chinese art was a representation of the tenets of their traditional philosophy and not an illustration of any creed.
• the second stage of power societies was initiated in Western Europe between the 13th and 14th centuries as a result of the long distance merchants' adoption of "the reason at work within capital". This is what unleashed the societal era called Modernity... Modernity divides in 3 phases:  -- Early-Modernity 13-14th centuries to the 19th century,  -- High-Modernity 19th and 20th centuries,  -- Late-Modernity started after the 2nd World war sometimes in the seventies/eighties and is the world's present condition.

What is called Modernism is the revolution in the visual art world that was initiated largely by the Parisian avant-garde sometimes during the 2nd part of the 19th century. The dominance of Modernism waded after the 2nd World-war. 

________

By the 14th and 15th centuries art was starting to transition in Western-Europe from being exclusively at the service of religion to becoming the illustrator and propagator of the visual signs of modernity. Religious stories had been the only accepted subjects to be represented in art for over a millennium following the imposition by the emperor Constantine of Christianity as the religion of the Roman empire.

Jan van Eyck Madonna of Canon van der Paele,1436 oil on panel, Musee Communal at Bruges.

In the 14th to the 15th century art, which had been a practice describing religious stories at the attention of the followers of the church, start to be used to ensure the "sanctification" of the bourgeoisie's new values of individualism and private property. And gradually their commissions of works to be suspended on the walls of their mansions (financed with the proceeds of their plunders in far lands) overtook the purchases by the church and after a few centuries they eclipsed the traditional religious visual signs. This period is called the Renaissance for it was kind of a revolution to satisfy the emerging needs of the new rich, the enterprising aristocracy and merchants, through the recourse to Greek pre-Christian knowledge that had been lost in Europe during the Middle-ages but that long distance merchants rediscovered in the rich Muslim university libraries of the Middle-East. The new visual signs in demand now were -- portraits of the new rich and the members of their families, -- landscapes around their manors, -- and stills. Such subjects will dominate the visual art scene for the next four-five centuries.

Pieter Bruegel the Elder, the Hunters in the Snow 1565; 

Oil on panel, 117 x 162 cm; Kunsthistorisches Museum Wien, Vienna

Things start to change in the second half of the nineteenth century.
A technological explosion (trains, long distance communications,...) that goes in parallel with the emergence of philosophic rationalism somehow engender changing perceptions about what reality is all about. Van Gogh, Gauguin, the impressionists, the pointillists, the fauvists, the expressionists and others are challenging the "way to paint" but force is to observe that they continue to represent the first degree images that project on their retinas and what they see are still faces, landscapes, and stills.

Vincent van Gogh,  Wheatfield with Cypresses

, July 1890 (Auvers-sur-Oise), June 1889 original; Oil on canvas, 51.5 x 65 cm

By the end of the nineteenth, beginning of the twentieth century science is blooming. At the contact of their friends mathematicians and physicists Picasso and a few other painters want to change the subject of representation by re-coursing to mathematical theories but in the end the only thing they succeed doing is what fast will appear as a trick (triangles and other abstract forms to represent more than one side of a same subject in one painting). Such tricks change the form of faces, landscapes, and stills but are still representations of the same first degree image  that projects on the retina. Duchamp understood this. He called cubism a trick and futurism an expressionism of movement.

Duchamp. Transition of Virgin into a Bride/Le Passage de la Vierge à la Mariée. 1912. 

Canvas 59 x 53.5 cm. The Museum of Modern Arts, New York, NY, USA.

At the contact with psychoanalysis the early surrealists, at least the thinkers of the movement, (Breton, Masson, Miro, Kandinsky...) experiment with automatism but while they escape the first degree image that projects on the retina they fail to theorize a new vision of reality. With Dali and Magritte the movement errs in commercialism and rapidly loses the steam of its original promises.



The second world war represents a radical turning point.

Coming out of the barbarity that had afflicted all nations of Europe artists and intellectuals proclaim their rejection of societal life as it had always been conceived of before. The members of Cobra are the most explicit. Constant, for example, speaks about the release of knowledge, as an outcome of the discovery of his desires through experimentation, hoping that this newly released knowledge will generate a radically new societal experience. Art started now to be conceived of as the description of a reality in the process of becoming and not any longer as an existing system that would be absolute and unchanging. This is when the artist projected the hope to mutate into a modern shaman who brings a vision of the rejected barbarity in the hope of gaining better days for all tomorrow.

Cobra Modification, 1949 

(Constant with Jorn, Appel and Corneille, on original by Richard Mortensen)

But real shaman are not stuck into rejecting the past. They offer a new vision that can be shared by all... As we see from "Cobra Modification" the past, the barbarity, is still the exclusive subject. We'll have to wait for artists in late Late-Modernity to dare starting to represent the first signs of a new vision of life in the process of becoming.

Having been spared the trauma of life through barbarity and not being excessively burdened by a past of theories and concepts American painters and artists are focusing on their individual feelings. This is best expressed by Jackson Pollock in "Three statements": "The method of painting is the natural growth out of a need. I want to express my feelings rather then to illustrate them". Pollock and his colleagues limit their actions to the satisfaction of their personal ego, the expression of their feelings, and do not show the least interest for what their minds are thinking about nor for the impact of their works on societal functioning. With hindsight we come to better understand how they were the perfect match for ideologues and merchants.

 The ideologues of the US state department understood that by pushing the works of the New York Art School in the face of the whole world they would be able to contrast their freedom to paint "whatever" with the ideological rigidity of socialist realism. But the propaganda budgets of various branches of the US government also targeted the establishment of New York as the capital of the art market. European merchants were subsidized to transfer their galleries to New York while European painters who refused to move to New York were shunned by the market.

The failure by the painters of the Modernist avant-garde, to attain their objectives of representing reality at a deeper level than the first degree image that project on the retina, was not lost on the merchants. They sized on that failure to eliminate, from the commercial circuit, all works that focus on ideation and political messages. In that process form was favored over substance. And so we come to understand why the members of the New York Art School were not only pushed in the face of the world for reasons of propaganda but also for commercial reasons. Merchants want indeed to minimize the loss of eyeballs and buyers in order to maximize their returns. And to ensure maximum returns they eliminated everything that fostered ideation, debate, and rejection.

Pollock. Number 8, 1949 (detail) 1949; 

Oil, enamel, and aluminum paint on canvas; Neuberger Museum, State University of New York.

This radical differentiation in creative attitudes on the two sides of the pond is largely due to daily life exposure or no daily life exposure to war barbarity. But the societal disparities between the two sides appear as radically important on creative attitudes as the exposure or not to daily barbarity. In short the war had considerably enriched the US economically while Europe ended largely indebted towards the US and with an infrastructure in taters. In the post war America ran at full speed into "marketization for consumerism" while Europe had to spend its time reordering its political houses. In short demand for visual signs for wall decoration were fast booming in the US while Europe continued to debate about ideas. This had a radically opposite impact on the intellectual and creative approach towards visual signs in Europe and the US. The American mass market needed politically sterile visual signs in order to reach the largest spread in demand while in Europe visual signs were largely expressing a political answer against war barbarity and the hope of better days to come.

Shed in such a light we understand a lot better the differences between abstract expressionism and Cobra and its followers and we also gain a better understanding as to why abstract expressionism gained wide market recognition while Cobra and other European artists remained in the shadows of the market.


But how will the input of both sides be judged in terms of the "long history" of visual art?

I venture to suggest that from a long haul historical standpoint:

• Cobra and the other European thinking artists will be seen as the true initiators of the unification of Europe as an antidote against barbarity. As such Cobra could well appear as an early gravedigger of modernity opening the way for later first steps into  what comes after modernity.

Constant. Untitled (Copenhagen), 1949. oil on canvas. 55 x 60 cm.

• The market success of abstract expressionism will be seen as the seeding ground of "whatever is art" and the free fall into the visual absurdities characterizing the end of modern art.

Richard Serra. One Ton Prop (House of Cards). 1969 (refabricated 1986). 

Lead, four plates, each 48 x 48 x 1" (122 x 122 x 2.5 cm). Gift of the Grinstein Family. © 2006 Richard Serra / Artists Rights Society (ARS), New York.

Rejection of formalism. Postmodernism.

European intellectuals and artists rebelled against the focus of the art-world on form and soon the Post-Modernist school re-introduced substance. In their minds substance equaled ideation. But what is ideation? In "The Postmodern Condition: A Report on Knowledge" Jean-Francois Lyotard posited that 'grand narratives' or worldviews had been ousted by rationalism and science and so ideation had to focus on limited phenomena just like science does. In other words Lyotard and his Parisian colleagues suspected meaning to be a trap that they thought they could escape by deconstruction and concentration on the fragmented pieces. In essence the artist was tasked to imitate science and its stated mission to comprehend the whole by addition of the comprehension of the parts.  

This very fact did not escape the powers that be. They had indeed been in a fight, over the best part of the last hundred years, against social movements that grand political narratives had glued into cohesive opposition groups. One such group, the Communist party in 1917, succeeded to take over Russia, then another group nearly took the control of Germany, and such groups have been since threatening the whole of Western Europe. To the agents of power theories about the rejection of grand narratives were like a gift from the sky. They controlled the institutions of higher education, they had vast state budgets, and rushed their most famous institutions into hiring the best known Postmodern French star theorists. The rest is history.

In the name of artistic substantiation Postmodern thought leaders imposed an arbitrary limit to ideation that has the ideological stench of propaganda and censorship. The rejection of the notion of worldviews and their societal functions by the theorists of postmodernism was tantamount to hoodwinking citizens to believe in grand illusions of freedom which would necessarily engage serious consequences for the future working of societies in the form of societal atomization followed by the collapse of societies. More generally Postmodern thought leaders gave everyone to see that they had no idea of what societal evolution is all about: gluing the mind of individual particles into sharing a common worldview so that their societies have a sufficient cohesiveness to possibly reproduce over the generations.

The reason at work within capital and the ‘knowings’ leading to rationality and science were full of the energy of life that frenetically pushes for ever more complexity and as such rationality and science were fostering an age of incredibly rapid societal evolution. In contrast, it seems to me, Postmodernism goes against the grain of societal evolution and it is harmful to the physical and moral well-being of the individuals. But perhaps this is again all at the image of the loneliness of Western individuals in their atomized societies in waiting to collapse...



What comes after Modernity and post-Modernity

To give a feel of how the works of modernity and post-modernity differentiate from what is to come, here are some examples of early After-modernity babble. No doubt this is early post modern learning, for, what comes after modernity will take many decades if not centuries to mature. We have indeed to acknowledge that what comes after modernity can only grow into fertile ground, if I may say so, and this ground is unfortunately represented by the completion of the expansion of modernity to the 4 corners of the world which inevitably ensures -- the maximization of all the side-effects of Modernity, and their convergence which sets in motion a raft of feedbacks among themselves...

See the contrast of these early works of After-modernity with the sad, mostly negative outlook in Constant's works. The latter is the phase of rejection (late evening) that allows for the dawn to set on the experimentation of better days to come. These new works dare starting to represent the first signs of a new vision of life in the process of becoming and what is striking is that these works denote a positiveness that suggest the break-down of many of the present-day existing obstacles to individual fulfillment. In this sense it is a new societal setting, a new worldview, that these works try to prefigure or imagine.

There is also visibly a reference to knowledge that could be available to all. Today the knowledge accumulated along the generations has to be learned and memorized by each individual. There is no reason to believe that the large mass of knowledge accumulated earlier should indefinitely need to be memorized by all.

One possibility is that extensions from the brain to computers will give us access to stored memory. In such a vision directly accessible accumulated knowledge is one of the most striking aspects of After-Modernity... Another possibility is that technology disappears in the maelstrom of side-effects of Modernity that unleash societal collapse and mass extinction of life. I'm personally more inclined to think that collapse and extinction are what comes our way... And if humanity survives the Anthropocene it will unmistakably have to compose with nature. Small groups of people will not have the time to inquire into abstractions. They'll have to toil to survive. To decrease their suffering while increasing their happiness they will have to delegate the task of knowledge formation to a specialized man of knowledge... And so we discover how a cycle of societal evolution closes while a new cycle eventually emerges...

In such a contextual setting the role of the real artist is thus to imagine how humanity might then conceive of reality in the future. Here are very early visual signs of such possibly better days to come when the organic reality of life necessarily re-imposes itself and men of knowledge start to search for patterns in the fabric of reality in order to gain knowledge about the working of the new realities confronting humanity...

Werner Horvath: "Hundertwasser's Dream". Oil on canvas, 50 x 70 cm.

laodan. Transformation. Acrylic 17" x 22".

Note dated July 2016.

This post was written in May 2007. Nearly a decade later, while still agreeing with what I wrote there, I have to expand on the notion of "better days to come" and "Those works denote a positiveness suggesting the break-down of many of the present-day existing obstacles to individual fulfillment".

My view today is that our societies are definitely on an accelerated path to collapse. This will assuredly not be a picnic. But while collapse evokes hard times ahead it also evokes the liberation from a maddening worldview and the chance to recover one's sanity.

Modernity has been overly successful and this is what in the end is killing it. The side-effects of Modernity have no other explanation for them possibly affecting societies and individuals than the fact that the individuals have been dumbed down by an overly wild individualism and extreme consumerism that act like a lobotomization that reduces our minds into infantilism. In the future historians will be asking why Moderns did lose the usage of their minds. Why did they follow, like sheep, the abstract idea contained in the reason at work within capital? Why did they continue destroying life on earth while collapse was already well advanced?

To future minds our behavior today as a species will indeed appear baffling to say the least.

When you understand where humanity stands today you can only dread what is coming our way but at the same time you also feel a tickling of encouragement because it promises the ending of what can only be called an era of sheer insanity. It is in that sense that the expression "better days to come" has to be understood ...as being a promise of positivity, of pragmatism, that is contained as a tickling of encouragement in our minds.

My work "Transformation" here above reflects such a promise of leaving chaos and entering an emergent new era of order in which man starts a new cycle of knowledge formation...

Note Dated December 2018

To better visualize, in one glance, what Modernism is all about I invite you to visit my "Visual Encyclopedia of art". Scroll up from section 07 to 15 to visualize the unfolding of Modernism and, in sections 16 to 24, you can visualize how a new avant-garde is starting to venture in the representation of the artistic path out of Modernity towards what comes after Modernity.

About the ways of seeing reality.

I first published this article on my Saatchi blog and on The way things are on 2006-07-05. What follows is a doctored version of that article.

I just had an interesting read in The Guardian, an article by Jonathan Jones titled "Ways of seeing" (lost the link). It concerns the passage from a religious imagery to the modern imagery and how science and art inter-played in this process of change. This article gives us also food for thought about the state of our present-day imagery.

In modernity there was first a recognition of the "truthiness" of the image projected on the retina which after transfer to the brain induces conclusions in the mind. This "way of seeing" was limited to seeing this first degree image that was projected on the retina and absolutely nothing else. Such first degree images have been the only accepted images from the Renaissance till near the end of the 19th century.

During the period of religious hegemony the dominant idea had been that god was the ultimate creator of everything and reality was thus conceived of as being shaped through god's will. Humans had thus to show their respect for god in all their undertakings and avoid any personal enquiry about reality.

Modernity revisits this postulate. An initial accumulation of richness and luxuries undertaken through plunder and violence since the crusades imposes the logic of capital on its holders. This complex economic-like process spreads over a few centuries and will gradually impose its own cultural set of values in the form of the idea of private property and the idea of the primacy of the individual over the collective.

Individualism unleashes the rejection of the religious edicts in favor of the logic of capital that is thought to be more reasonable than blind belief. This process of rationalization also establishes the primacy of vision, of what the eyes are given to see, over belief. Vision takes thus precedence and in such a mindset "in Renaissance Italy, there was no separation between art and science. Artists were at the forefront of scientific research - Leonardo da Vinci championed experiment a century before Galileo, and even anticipated, without a telescope, his observation that light reflected off the Earth illuminates the moon" (from Jonathan Jones' article).

So came about the reign of the image projected on the retina which after transfer to the brain induces conclusions in the mind and so thus has been opened the road toward philosophic rationalism that would appear a few centuries later.

Under the hegemony of individualism and private property the next centuries will champion visual signs representing portraits of the family members of the new rich, landscapes surrounding their mansions as well as stills of what lay on their tables. All signs that were like a glorification of their newly found values.

Some 6-7 centuries after private property and individualism popped into Western Europe's consciousness, around 1900 to be precise, the thinker-artists of modernity rejected such first degree images (Kandinsky, Miro, Masson, Breton,...). But force is to a-knowledge that they did not succeed in forcing their way into a new visual paradigm... they have indeed been stuck in tricks, in formalism and without any doubt they did not reach the new content they were searching for.

Only recently is a new visual paradigm emerging, not at the hands of artists but, out of scientific endeavor. First there were those images from the macrocosm (telescope) and from the microcosm (microscope) or from scanning what is there (body, materials,...) then came images as illustrations of abstract reasoning or of patterns detected from long series at the hands of computers (Internet network visualizations, cellular automata's, etc).

This kind of visualization comes to the eye not as a first degree image of what is there that projects on the retina but as an illustration of something that is not directly accessible to the eyes, something that appears as a dimension of the mind.

Visualization is now acting as the illustration of processes initiated by the mind.

Those images are being used to gain a better grasp on the existing level of scientific abstract reasoning and also to help scientists project their abstract reasoning a step further. This is most visible in the neurosciences where scientists are observing how the brain reacts to this or that stimulus through scan "imaging". The image of the scan gives them the location where an action takes place in the brain and from there they can zoom into the molecular structure in order to understand the biochemical processes at work at the micro-level.

The lessons from what is going on in the scientific world have vast implications for visual artists. Unfortunately the art academies are still rooted in past realities and are thus not preparing the brains of future artists for this new age. As Marcel Duchamp famously said this leads to "being dumb as a painter". What Duchamp meant was that artists need more than just the knowledge of brushes and pigments. They first and foremost need a deep knowledge in science for being able to put their feet on reel visual steps towards a representation of the worldview of our times.

But scientific knowledge is not enough. Science is one of the drivers towards post-modernity, that's a fact, but it is not the only one. A cultural mutation is also been generated out of economic globalization that will have an impact as important on the fashioning of our understanding of reality as science itself.

Modernity has been conceived inside the mold of the Christian worldview.

Globalization unleashes the economic renaissance of China, India, South America and Africa that in turn will unleash a new kind of cultural mold on the world. The "ways of seeing" of 85% of the world population are inevitably bound to have a dramatic impact on the future understanding of reality by those privileged 15% of the world population that have been living in advanced industrialized societies. This seems an absolute evidence but it is nevertheless so badly understood.

I believe that, in the same fashion as the real artists of the Italian Renaissance were also the scientists of their time, today the real artists have to absorb the content of science and of the Asian worldviews in order to keep themselves afloat in the maelstrom leading to the real future. Those who succeed to do just that could well appear, in the future, not just as artists but as the men of knowledge of postmodernity.

"Whatever" has no place here any longer.

Now is the time of the brain. The brain giving to see to the eyes. At the image of the "primitive accumulation" of financial capital the present revolutionary process starts with the "primitive accumulation" of knowings in science and worldviews.

Necessity shall act as a catalyst on the emergence of that process.
The side-effects of modernity are indeed so severe already that we can say without a shred of a doubt that the survival of life on earth, in the not so distant future, will depend on our capacity at realizing a fast and dramatic "primitive accumulation", of knowings in science and in the worldviews of the different cultures of the South, out of which a postmodern worldview would then emerge that rejects the diktats of the logic of capital and its mechanist rationalism.

This religious story of science.

Since long I sense that the more knowings (parcels of knowledge) I accumulate the more evident it becomes how little I really know about the whole of reality. What I mean to show is that a large accumulation of knowings does not necessarily preclude knowledge. Here follows an awakening call from particle physicists and cosmologists that seems to say just that.
"Twenty years ago most physicists would have said, on the basis of 450 years of science, that they believed that there's only one allowed law of nature that works, that ultimately we might discover fundamental symmetries and mathematical principles that cause the nature to be the way it is, because it's always worked that way. So that is the way science has worked. But now because of this energy of empty space -- which is so inexplicable that if it really is an energy of empty space, the value of that number is so ridiculous that it's driven people to think that maybe, maybe it's an accident of our environment, that physics is an environmental science -- that certain fundamental constants in nature may just be accidents, and there may be many different universes, in which the laws of physics are different, and the reasons those constants have the values they have might be -- in our universe -- might be because we're there to observe them. " (Lawrence Krauss in THE
ENERGY OF EMPTY SPACE THAT ISN'T ZERO in Edge Magazine 7.6.06)

We have been dream-talking in "Western Late Modernity" about a science that would explain everything and make us at the image of the gods in religious foundational stories. But such a faith in science is no more than a naive religious-type belief in a very poor story. I have this feeling that what humanity is most urgently in need of presently is not to be found in the stars nor in sub-atomic particles but in its own substance, the balancing act between its polarities, individual and society. If societies collapse science shall murmur bye bye to the individuals... and this poor religious-like story of science shall then simply vanish with the individuals who created it in the first place.

Science is radically revolutionizing our understanding of reality and this causes an enormous stress on the individuals who feel at a loss faced with the disintegration of their traditional belief systems while not being able to understand the new scientific paradigm. Furthermore the equalization of life styles between the North and the South that has been initiated by globalization is fast destabilizing every society on earth. In the presently growing chaos wrought upon us, by the interactions between the productions of science and of globalization, what is most urgently needed is a worldview uniting the individuals around the idea of bringing about a livable, and possibly a better, future for their children. Such a worldview will not reject science. On the contrary it will integrate science into a more globally encompassing system of thought that shall be derived from the holistic vision projected by the diverse philosophies and religions of the people of the earth.

Change, and more particularly societal change, comes out of necessity. Whatever idealist intellectuals may think about societal change; will-power on its own has never shaped societal change. Leninism may have given the illusion for a short time to the contrary. But barely seventy years after having imposed their will-power on the Russian society necessity found its way around state force. What I want to say is that, while there is a credible argument to be made that late modern societies are in a dire need of some sort of glue (worldview) to bind their individual atoms in order to avoid collapsing into atomization, imposing a worldview that was shaped under past conditions has just no chance to work. Religions and philosophies that were shaped over past centuries, if not millenia, do not answer present necessities and recoursing to them to stabilize present societies would only end up in the collapse of those societies a little later at the image of what happened not long ago to Leninist controlled societies.

Necessity is out there banging on our doors. The present-day necessity is for answers to the deluge of problems that is flooding out of the side-effects of modernity: climate change, poisoning of water, air and foods, decreasing rates of Gross Domestic Happiness (GDH), deforestation, mass extinction of species and so on. The more time passes and the more those side-effects of modernity appear indeed to threaten the very foundation of life on earth.

Modernity was founded on the recognition and respect, over the centuries, of the logic of capital. In short, money invested in a venture becomes capital and people soon understood that they needed to follow the logic inherent to capital, for, not recognizing this logic was immediately sanctioned by a decrease of capital's monetary value that could possibly lead to the total extinction of that monetary value. Merchants and bankers were first to recognize and respect the logic of capital and found themselves antagonized by the clergy and the aristocracy who followed the edicts of the scriptures. The contradictions of the logic of capital and the edicts of the scriptures paved the way for the ideological contest between rationality and belief. Respecting the logic of capital was thought a rational behavior while belief in religious stories was gradually thought of as irrational. We all know the outcome. But force is to observe that in as short as a few centuries the logic of capital and rationality brought us on the brink of life extinction...

In our present-day peculiar societal reality the role of art is to give visual signs of the coming postmodern worldview for all to share.
Easy said is it not? But where to start?

Knowledge is the answer and this starts with the accumulation of knowings about science and philosophy and then the understanding of our present-day times and how we personally fit in the time. Only the works of those artists who make the effort to go through such a process of learning have a chance to remain of interest in the eyes of those who will be living a century from now. "Whatever", sharks or drippings, shall have vanished from their memory.