Andrew S. Guthrie
3 Aimless Manifestos by Andrew S. Guthrie
- The interpretation of art (whether the form is visual, aural, or textual) rests on ambiguity.
- The positive aspect of ambiguous meaning is its openness; the system isn’t closed.
- Meaning in art is then decided to be something that must be undecided, unlike other systems of thought.
- The ambiguous meaning of art is not without an ethic, or a moral purpose. The above points inform an ethical point of view.
- Play is the natural inclination of art; creativity occurs when one least expects it (yet artists have come to blows).
- No coercion should occur, because we are playing with meaning.
- Art is a specific realm within “the nature of reality”: it consists of humans talking to themselves.
- If the meaning of Art is ambiguous then this proposal is also ambiguous; in other words, meaning in Art can potentially be unambiguous.
- Art is a proposal for Society that cannot limit its subject matter without sacrificing its openness.
- If we strip art of an ultimatum we deprive the demagogue of its resource.
- Nothing but the market determines the unambiguous value of art.
- All art has an exact value regardless of the individual artist's aimless labor: how much did the materials cost?
- The value of artistic labor is at first extra-economic (useless) but is targeted to become priceless (over-priced).
- The rise in the cultural appreciation of an artwork parallels its monetary appreciation.
- The art market demands nothing more or less than the same innovation driving all production.
- If it is not innovation, “newness”, that drives the market, then the artwork is intended for niche markets, known in the art world as “genres”.
- The art product perfectly represents speculation as a well-regarded aspect of complex economies.
- Artistic patronage may be altruistic, but it is primarily the outcome of excess income. The patron is still in the market for something.
- The standard for financially successful artistic productions parallels other modes of contemporary entertainment: magnificent scale and spectacular presentation in market sanctioned venues.
- The artist’s self-imagined values, the feeling the artist receives when in contemplation, is a state of mind (or existence) seemingly counter to market interests. These expressions must fulfill their uselessness for art to become a well-conceived form of extra-market exchange.
- Poetry is sometimes disdained as useless. But a balanced ecology shuns refuse and demands reuse.
- The speed of poetry metaphorically adapts itself to the practical demands of recycling.
- Poetry’s use value is thus measured, positively or negatively, as time; what ordinary speech or exalted music consumes.
- This consumption is less basic than food, but something similar to air.
- For speech to become true it must become useless, something devoid of guile.
- The turn of language that allows for poetry is (much) too nuanced (for) practical demands.
- Herein lies its uselessness, which is now proposed to counter the assumed usefulness of other forms of speech.
- If not for practical reasons, speech has always aspired to truth; speaking the truth – unless it was truer to tell a lie (unless lying seems more truthful).
- Poetry has enough angles for you to decide which one is for you.
- The assumed difficulty of poetry is having (that one has) to go-over-it many times.