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Draft #2
Todays world is defined by attitudes of discursivity and pervasive distraction. Meaning and the
battle for its preservation has fallen under the exponentially increasing weight of a false progress
masquerading as the new. This contemporary situation of meaninglessness and distraction,
christened Post-Modernism in recent history, encompasses all aspects of societies, and
permeates every texture of culture. Anything today posing as an effort to abandon its force have
failed because such so-called efforts are happy to perform within the boundaries of PostModernisms credo while simultaneously claiming to have advanced beyond it, thereby
subsuming themselves as tools for its continued propagation. The contentedness of these efforts
and the individuals who supply them in being subject to Post-Modernism signals the
meaninglessness and incompleteness of the efforts and the individuals themselves. This is true
because those who have laid claim to fighting it do not stake themselves as individuals with their
values as completely as Post-Modernism does with its values, which threatens to remove all
possibility of staking anything in the first place. Social values as they have developed thus far
have failed us because we have failed them. The situation is such that unchallenging dogmas
propel us ever faster to the verge of an absolute and total collapse: a very real apocalypse.
The role of artists, within and without societies, self-evidently the engines of social discourse and
the weavers of social fiber, in opposition to the commonly held and confused Post-Modern
assertion that art and artists are passive mirrors of it, find themselves positioned before a moral
dilemma, the solution to which the concerned collective holds to be self-evident as much as it is
simply evident through rigorous interrogation: artists must invest themselves completely towards
an attitude whose valuable remaining traces continue to be expunged in art, hunted relentlessly
by the tendency of Post-Modernism to force aesthetic truths to conform to its meaninglessness
or risk obscurity or artificial inadequacy by its own terms. This model of conformity posits itself
in every realm of social life. As such, it is very good at positing itself as the only version of
feasible cultural reality. Actual truth is multifaceted; it is anti-dogmatic, and is only awaiting
genuine efforts to climb towards it so that it may be functionally realized in that process. Such a
realization would necessitate a total shift in social climate: the world would be changed.
The collective for which this text functions as a preliminary tool of orientation therefore adopt
the following tenets so as to approach the advancement of art, and thus, the world:

1. The role of art proper is to realize its own autonomy. By so doing, such works would
offer forms through which individuals may, by way of contemplation, come to construct
heightened levels of self-knowledge, which advances a society of individuals whose
meanings and values come to be genuine.
2. Discursivity in art is recognized as any anti-content within that posits, or attitude towards
a work that extrapolates, meaning beyond what is apparent immediately in other words,

what is in and of the work. Such discursivity has proven itself to be a tool of the antiaesthetic, and therefore anti-advancement: a work that does not allow for or detracts from
the construction of personal values or absorbed contemplation does not allow for the
advancement of art or of societies. An art that does not invest in itself should be treated
with similar disdain.
3. That the gallery space as we know it now has been appropriated by Post-Modern values
that is, anti-values; nihilism and, in this specific instance, by Capitalist comportments,
thereby rendering themselves useless for the true advancement of art. Instead they make
themselves into malls whose commodity culture cares less about the advancement of art
only than the spectacle art they sell. As the contemporary gallery space becomes rigid, it
relatively becomes a less viable place for art to advance. The model and functionality of
space concerned with art must change. Such a space must take on the role of forum
proper, lab proper, and salon proper, so as to foster criticism proper: formal analysis. This
is the way to tend the fragile ground in possession of the potential to evolve into fecund
earth for arts advancement.
4. Such advancement must progress towards inducing growth within populations, so that
their values are sincere. By so doing, they reject banally accepted nihilistic culture on
moral premises. Only by doing this can any world be saved. Art is the cure for the moral
disease: art proper and the appropriate attitudes that make it accessible allows for
populations to grow towards sincerity enacted as values.
5. Post-Modernism the situation posits an illusionistic world where things far away
appear close. As such, meaning appears to have achieved itself in the exclusive magic
realm of the internet. Being even mildly effective, true agents and formats of progress
must coagulate in actuality, and that truth necessitates a physical place.
6. As the situation promotes isolation and dispenses singular agents to their respectively
distant hollows, an effective tool of its own viral nature, the program of the cure must be
antithetical to the procedure of the moral disease. Therefore the collective must be
formed. The collective does not imply a singular entity comprised of individuals, but an
active participation of a multitude of individuals whose values prompt them to ally with
one another enough so that communication might occur. This, too, is infeasible without
the formation of a physical location. No galvanization can occur with divergent parts, no
focus can be induced or confirmed without a point on which to focus.
7. No element of social conditions determines the measure of an individual to contribute to
the advancement of art. Only sincere efforts of consciousness and cultivated values
determine the immediate applicability of an individual towards the advancement of art.
Therefore the individuals who concern themselves with this text and its following acts do
not place value judgments on socially measured conditions: no aspect of an individual
outside of aesthetically relevant constitutions makes them more or less relevant to the

advancement of art, as they themselves are extra-aesthetic aspects and conditions. Those
aspects that comprise the muddy waters of identity are elements to parse with social coin,
not with aesthetic value.
The plain face of the contemporary situation necessitates a moral scenario: the first method being
that individuals and societies can agree to the state of things as they are now and must thereby
conform to Post-Modernist values. However, contradictorily, by so doing, they must know to
what it is they agree, or otherwise become passive subjects to alien ideals which they are not
sensitive in any capacity but adopt anyway. Such knowledge requires the establishment of
genuine personal values. Should those values, once established, align with the state of PostModernism, then every present condition are happily accepted in full, along with their extreme
moral and ethical taxes: the end is nigh, acknowledged, and celebrated. Though that would seem
to describe our current situation, the passive dreaming and meaninglessness of passive
subjectivity is much closer to the truth. Though this bears some pessimism, it also bears an
outstanding hope: that it is not in our nature to self-destruct, or we would have done so already,
or this text would not exist, for the feelings of antithesis would not exist. Without established
personal values, which by their nature predicate actions, then the stasis of remaining in-between
actual beliefs crystallizes forever; people let the world down, and we slide comfortably into the
last days of existence, still dreaming.
Those present options are repugnant and terrifying to the sense of the moral being, who turns to
another option: an infinity of options endless methods to the betterment of our world not only
exist, but are simple to explore.
Experimentation, in a particular and careful vain, therefore is our best and only hope.
Experimentation espoused to personal responsibility, productions of new forms and their
contemplation above all else, and a dynamism of practice and approach is to be the foundational
ethos for this space. Future ideas that arise organically and go determinately examined may find
their way into this text and its accompanying actualization.
As artists, whose personal values are predicated on the production of art, our actions must follow
suit. Self-evident personal values serve as the basis upon which this text was procured as a
manifestation of the values themselves, and the basis upon which their natural realization, as
their continuation, arises.