Techspressionist Manifesto (v2.0)
- The computer, and technology in general, are not separate from humankind, but a natural extension of us. Our tools are anthropic in nature; conceived of and built by humans.
- Technology is a continuum which is as old as humanity, not a novelty or fad. Consider: The lever is a machine, and therefore a technology, so is the notion of the zero. The Romans would have never had a digital computer.
- The computer is one of a long string of tools which have enabled human expression, including the typewriter, the camera, the printing press, the pen, the pencil, and paint. Oil paint is a technology.
- At this point in human history, nothing is truly computer generated, even when code determines the output, as with the work of the Algorists. Anything considered as “computer-generated” is the result of a human initiated set of processes, and shaped by human choices.
- This may change, as the Singularity, as predicted by Kurzweil, is a possibility. As humanity went from the age of Ptolemy to that of Copernicus, we understand that our machines may someday develop sensisibilities independent of our own. This is a subject of great interest to us, and we await that day.
- Coding is an artisan’s activity. Well-crafted code has an aesthetic quality as beautiful and valid as any poetry. (Kant’s Mathematical Aesthetics)
- Artificial intelligence is a misnomer. While machine learning/AI has the qualities of complexity that make it appear “intelligent”, it is still a product of human agency and at the moment possesses no subjectivity of its own. AI, like a camera, is still an extension of the emotional intent of the user.
- The scientific method can be applied to anything, including the realm of aesthetics.
- A successful image is affective, and memetic. Art that communicates successfully affects the person viewing it, and even more so if it becomes “viral”. This is Dawkins’ concept of Memetics at work.
- Our project is a direct expression of the contemporary. Where the modern suggested the “arrow of time” with its notions of past progress, and future, we understand that this work is contemporary in scope. That is, a product of the eternal now, understanding the indeterminacy of the future and past.
NB: This text draws inspiration from artistic manifestos of the past, including Marinetti’s Futurist Manifesto and Breton’s Surrealist Manifesto.
ART & TECHNOLOGY
Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness by Roy Ascott
Virtual Art: From Illusion to Immersion by Oliver Grau
Digital Currents: Art in the Electronic Age by Margot Lovejoy
The Artist in the Machine: The World of AI-Powered Creativity (The MIT Press) by Arthur I. Miller
Digital Art by Christiane Paul
Art of the Electronic Age by Frank Popper
From Technological to Virtual Art by Frank Popper
Computer in Art by Jasia Reichardt
Re-collection: Art, New Media, and Social Memory by Richard Rinehart and Jon Ippolito
Art and Electronic Media by Edward A. Shanken
The Computer in the Visual Arts by Anne Morgan Spalter
The Work of Art in the Age of Mechanical Reproduction by Walter Benjamin
Art and Culture: Critical Essays by Clement Greenberg
Concerning the Spiritual in Art, Wassily Kandinsky
Point and Line to Plane by Wassily Kandinsky
Natural Reality and Abstract Reality: An Essay in Trialogue Form/1919-1920 by Piet Mondrian
1995 Cybersex Farce Novella ~~~~~~~~~~~~~~~~~venus© ~ Ñ~vibrator, Even by Joseph Nechvatal
The Philosophy of Andy Warhol (From A to B and Back Again) by Andy Warhol
Fred Forest’s Utopia: Media Art and Activism by Fred Forest