Anyone have any chalk?
All that’s ‘real’ are the images we get through our points of view
—(Earl Babbie, The Postmodern View)
The yea-sayer ‘the man of the future’ will not be tempted to play word-games but will embrace conflict. He will tap into his deepest drives, his will to power, and channel all of his instinctual energies in a vital new direction
—(Stephen R.C. Hicks, Explaining Postmodernism)
Even objective reality becomes a useless function, a kind of trash, the exchange and circulation of which has become more and more difficult. We have moved past objective reality into something new, a kind of ultra reality that puts an end both to reality and to illusion.
— (Jean Baudrillard, 2005)
It is hard for me to classify a form of research like my own within philosophy or within the human sciences. I could define it as an analysis of the cultural facts characterising our culture… I do in fact seek to place myself outside the culture to which we belong, to analyse its formal conditions in order to make a critique of it, not in the sense of reducing its values, but in order to see how it was actually constituted.
—(Michel Foucault, 1967)
[P]ostmodernism has been characterised by a kind of fatigue with the new and the sense that everything has been done before. Postmodernism asks: Can there ever be new ideas and images, things that have not been thought of or done before? Does it matter? The world of images today consists of a huge variety of remakes, copies, parodies, replicas, reproductions, and remixes. In the arenas of art and architecture, as well as popular culture, the idea of an original image or form seems to have been thoroughly subverted
—(Marita Sturken & Lisa Cartwright, Practices of Looking)
Whereas modern cynicism brought despair about the ability of the human species to realize laudable ideals, postmodern cynicism doesn’t not because it’s optimistic, but because it can’t take ideals seriously in the first place. The prevailing attitude is absurdism. A postmodern magazine may be irreverent, but not bitterly irreverent, for it’s not purposefully irreverent; its aim is indiscriminate, because everyone is equally ridiculous. And anyway, there’s no moral basis for passing judgement. Just sit back and enjoy the show
—(Robert Wright, The Moral Animal)
Nobody has the power over the images, nobody owns the world.
The digital wave has thrown the old reactionary art into a smoking shambles.
Our flowing consciousness follows the billions of pictures. From the first blink to the last dying gaze. These are the strong, unique and beautiful as terrible images that our existence does worth living:
Mother, the first Christmas, a great love, own children, a line in the desert or the sea’s horizon. The unexpected images enlighten us.
Against the reign of the banal, the stupidity and the greed. Art must return as reconnaissance invading the unknown spaces of Visibility.
Real-time digital tsunami waves have conquered our realities. In milliseconds our weak physical focus fails to set the right attention.
Will only instincts choose the important images ? What makes their importance ? Images that provoke thoughts and images that enforce our decisions. New economies ?
Ongoing, adjusting our reflexes, we test new attention filters for stimulus amplification and noise reduction. Our consciousness is a consciousness in transition.
We urge the continued expansion of our critical sense. Give us a better awareness for all! See, reflect, evaluate, act.
Reality. Claim. Aesthetics. Action. Expectation. Ethics. Say. We have a visual right. Dancing the virtual.
We create, manipulate, govern. We shock and enchant the world with new images. Frames of individual decisions becoming waves of societal change.
We are artists without art, stumbling as aging trons through endless digital spaces. We dare for a new visual future.
Light of aesthetic information: Critical projectiles hurled by the angry fists of imagination and reason.
Hans Heiner Buhr, August 2009, from
Left, two, three, Art: Tron’s Manifesto