Mittwoch, 30. Oktober 2019

The school of expanded art [Expandism]

[the founder of expandism at work - Rodin/Reiter]



From psychology we know the idea of "extended suicide". The idea of suicide is broadened to innocent people, who are killed as well. The suicides expand their mental world to others, they lift themselves up become masters over life and death.

The school of extended artz – Expandism – is diametrically opposed to such megalomaniac tendencies. The expandists try to transform the exhausted culture of failing consumerism into sustainable world views.

With their work, expandists pull back the remnants of the decaying, industrialised social model into a flourishing life of post-industrial and post-capitalist cooperation.

The heavy part:

There is no truth, only probabilities.

The School of the Extended Art is an art movement. It presupposes a relative but extremely interdisciplinary concept of reality. It focuses in particular on interoperability. In other words, it is about the concrete, contemporary, overpowering art work.

The focus is not on "everyone is an artist ", but on "all art always somehow affects everyone". Therefore, the overly bureaucratic, vague, even malicious concept of "interdisciplinarity", which in its veiled totalitarianism only creates and fixes boundaries, is equalised.

Mathematics, music, painting, installation art, film, video, performance, computer science, research, teaching, chaos, sculpture, literature, architecture, theatre, astronomy, sociology, space travel, psychology, physics, chemistry and political theatre are understood as the soup in which humanity floats.

Everything is legitimate as long as it follows Emanuel Kant's categorical imperative. War and peace are dismissed as an orgy of violence – albeit with the occasional pause – and replaced by continuously renegotiated cooperation.

Nations, borders and states have become obsolete. The regions and their manifold cultural forms, as constantly changing impressions of humanity, determine the powerful realities. Religion is thus reduced to its cores as a folklore event, metaphysically dressed up perversion or warmongering.

The sky is no longer the limit – in other words: "As long as there are no pictures and no sculptures on Pluto and Charon – we cannot consider ourselves as having left the cave."

Science, art and the creed of the chaos pilots of this earth of regions yet to be united is the canvas on which the picture of the future is to be painted.

This means that it is not dilettantism and foolish incompetence that deserve space. Rather, the more abilities and skills an art work or a process can bring together, the more powerful and liberating its impact will be.

The ambivalence of being, only apparently terrible, is always and a priori dynamic. The realities to be constantly renegotiated are fluid, they are constantly changing.

Right or wrong, right or left, true or false cannot be fixed processes/parameters – they are eternally in flux. However, this does not result in relativism, as some simple dialecticians might suggest at this point.

The acceptance of the "fluid nature of being" develops a different view of tools and insights. The expandist view is supposed to put an end to the dystopian longing for death that has been common in the early 21st century, which implies all popular-religious entanglements of this delusional world view.

Preliminary Conclusion:

And so all that remains as an epilogue is to transform the monotheistically guilt-dominated idea of "Every human being is an artist" into a more statistically likely and collective guilt-free: "Not every artist is a human being".

*Robots, programmes and art works that can't lie – are shit.
*Anti-totalitarianism is human duty.

If fear and malice are seen as reasonable, resistance becomes a civic duty.

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Martin Reiter ... Berliner Volksbank
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