Manifesto
Manifesto
-noun, plural –toes.
A public declaration of intentions, opinions, objectives, or motives, as one issued by a government, sovereign, or organization.
My manifesto follows from the ideals and concepts proposed for our society, in response to the dire state of the environment, by Vivienne Westwood’s, “Active Resistance to Propaganda”. I pose a subsequent statement, which works along side Westwood’s piece, offering ways of putting theory into practice.
It is my intention that by blurring the boundaries between the arts, as we understand them, culture will be able to exist within society as an active entity. Knowledge will become the universal currency, and its exchange and development will become the prime concern of each individual. This manifesto will force the reader to recognize the decision they must make; learn, develop, and grow as a society, or proceed as a follower of the evolution that other people have planned for them, eventually falling victim to their own ignorance.
I will begin with my observations of culture, steaming from the overwhelming presence of propaganda embedded in the fabric of society.
We have been conditioned to become a society of consumers. This in itself is not necessarily a negative concept; it implies we are provided with a range of products from which we make our choice of what to ‘consume’, thus supporting that designer/brand and the ideology they represent. However this process in contrived by us as the consumer having learned to obediently follow trends and style patterns, dictated to us by marketing companies, instead of employing our personal choice with relation to exerting our buying power.
Everything from product placement in movies, prime time (and otherwise) commercials, and magazine advertisements bombard society with images and material steering us to what we “want to wear/read/eat/drink”.
Essentially, we are instructed how to spend our money.
We are instilled with directives, forced to recognize boundaries dictating the manifestation of our public image from our earliest impressionable age. An understanding of socially acceptable ways to appear, to behave and to generally conduct ourselves becomes innate. Image also becomes a status symbol, a visible way of identifying your standing in society. Conforming to a certain image aesthetic denotes that the individual identifies as that class/culture etc.
Self expression is even contained to a manageable realm.
It is necessary to recognize the prevalence of this social conditioning for us as individuals to be able to make the choice; break out of the mold or conform.
In a culture where so much weight is placed on an individual’s image, or rather the wider interpretation of their image, choosing to disregard, or even experiment with the boundaries curtailing these parameters returns varying results. Equally, the objective of the individual is as subjective. It is no coincidence that all of the terms/labels used to refer to nonconformists are also used in conjunction with less savory members of society; exhibitionists, attention seekers, show off, indiscreet, gaudy, vulgar.
It is clear; conformity is the preferred behavior in society.
Image is an instrumental tool, it acts as an individuals interface with the rest of society. In this way, it has three key functions; drawing attention, directing the viewers attention, and camouflage (blending into the crowd).
When given five seconds in the presence of a person who could have a hugely positive influence of your life, there is very little you could say that would make sufficiently lasting, and favorable, impact. The most powerful tool you could employ is your image. Creating and in turn promoting your individual brand is crucial, this makes you a complete package, not only theoretically unique, but having the ability to convey an air of something different before you even introduce yourself.
The power of individual interface can be used to communicate a message or direct the viewer to a particular cause or issue. This is something often used in situations such as demonstrations or marches, where a large group of people unite physically in one location and visibly in the way the present themselves. Recognizable slogans, symbols or uniforms all add impact to the sight of the group of people, while also giving the individuals a feeling of unity and camaraderie.
By conforming to all the social directives, an individual can successfully blend into the crowd, becoming just another non-descript member of public. This could be used for two obvious and opposing purposes. One, allowing an individual the feeling of “fitting into the norm”, and not drawing attention from others. Two, providing a camouflage for an individual trying to carry out some sort of action unnoticed.
Autonomy has become a rarity in relation to most aspects of image, and this has bred complacency. People no longer consider the impact of what they wear, the readings that it encourages, and/or the message that it conveys. It has become easier to take no responsibility for your image, by wearing the ‘appropriate’ and ‘recommended’ uniform; in other words complying.
However, given the position of extreme economic, environmental and political crisis, our society is now experiencing, we can no longer afford to follow direction blindly.
We must embrace knowledge and experience, because knowledge is the ultimate power.
Difference is the ultimate statement for change and liberation.
A change we must embrace and pursue as individuals.
I promote ownership of image as being the first step in becoming a society who celebrates the presence of culture in all aspects of life. By ownership I mean consciously making choices that directly affect your image. Within this is the understanding that this will evoke different responses from the people that you encounter. It is an acceptance that these responses, whether they are positive or negative, will be an active and encouraged dialogue; enabling an exchange of knowledge, in turn becoming a recognized currency.
The first step is exposing consumers to choice; the opportunity to freely make decisions around their image. This choice should not merely be fashion based, but cultural, enabling the liberation of art from art galleries, films from cinemas etc.
Image becomes a forum for experimentation and exploration.
I am going to enable collaboration between designers and artists by promoting a technology that allows screens to be incorporated into garments tactile enough to maintain the integrity of the garment, but with a high enough resolution to clearly translate an artists work. The key element of this process will be preventing either component detracting from the integrity of the other; they should compliment each other, communicating an intelligent, considered image. The idea being that an artist will exhibit their work in a season/line of clothing instead of inside a gallery. The designer and artist will work together to create the optimum way of showcasing both of their works. For this reason the wearer will be committing to a particular garment and art work, there will not be an option to alter the image within the garment.
I am actively discouraging the disposable attitude prevalent in fashion.
The screen must be an extremely tactile form. The fall of the fabric, and the way in which the garment moves must not be inhibited by the structure of the screen, allowing the designer to create a truly organic form. The use of organic, renewable fibers will be promoted in the construction of the garment. We are battling the destruction of our environment.
Finally, to enable further exchange of information and knowledge, garments will emit an RSS feed downloadable with an iPhone or Blackberry, by people they encounter who want to learn about the designer or artist. This will be in the form of a digital brochure for both the artwork and the fashion line, complete with information about the collaboration and links to their earlier work.
The most important thing about the manifesto is awareness; both of the wearer and in turn of those with whom they interact with in public. Through learning, and making choices based on knowledge of yourself and those around you, your life and experience of society will change.
Eventually our society will change.
Eventually the world, as we have learned to accept it, will change.
Vivienne Westwood’s Manifesto.
i have gone through the manifesto in detail, and identified the key elements i find crucial to my project, and also personally interesting. here i have listed quotes from the manifesto, and my response.
Westwood on the manifesto:
it penetrates to the root of the human predicament and offers the underlying solution. We have a choice: to become more cultivated, and therefore more human; – or by not choosing, to be the destructive and self-destroying animal, the victim of our own cleverness (To be or not to be).
She means the manifesto to be the basis for social change. She gives the reader a choice, and illustrates what she sees as the implication of either decision.
art gives culture and that culture is the antidote to propaganda.
Those who are cultured and understand art, recognize, are more aware and are not seduced by propaganda.
She only exists when we know her. Does she exist? The answer to this question is of vital importance because if Art is alive the world will change. No Art, no progress.
The personification of art, giving ‘her’ human attributes, demystifies it as an entity, making it more relatable - less daunting.
But you have stolen imagination. There is hardly anyone left now who believes in a better world. What is the future of unlimited profit in a finite world?
The pirate titles himself ‘Progress’, and wears a t-shirt baring the slogan “I love crap” (propaganda). Westwood asks what the point of progress is in a dying world without hope?
True progress, as the Greeks thought of it is without limit. How can things get better and better if there is a limit?
Beautiful slavegirl: ‘Everything must have an end. And to progress or advance in any way you must know where you are going.
The destruction of the earth seems to be sending us hurtling to the point of no return, how can there be progress in a world in which we are imposing an end? The slavegirl states that everything must have an end, and that there is a comfort in recognizing the inevitable.
Happiness is the true end of human existence. In practice this means to realise individual potentialities to their limits and in the best way possible.
Happiness breed’s the inclination to becoming idle and satisfied, this is the end of progress. Success is realizing there is always more to be achieved. Ones never truly fulfills their potential.
A work of art may show us our self – who we are and our place in the world. It is a mirror, which imitates life.
By interpreting art in relation to yourself, it becomes personal, easier to identify with.
… he doesn’t believe in anything, let alone himself. That’s why he’s a cynic. This self-promotion and doing what you want is a sham philosophy of life. No, no, it’s not self-indulgence but self-discipline that makes the individual.
Cynics lack belief; they need discipline to be able to truly succeed.
A work of art then, is an imitation reduced to its essentials, thereby forming a whole – as in a microcosm.
Thus art gives objectivity – a perspective, an overview. We define objectivity as seeing things as they are.
This statement discusses the importance of the ‘gaze’ in the relationship between art and viewer. This dialogue is subjective and completely individual.
‘Tell me all about it! If there is nothing fixed in the world then you find yourself in Wonderland where everything changes – including yourself.
People’s lack of understanding or awareness of value, has resulted in the disposable attitude of society, living season to season. Free of individual interpretation of personal style and image.
they speak to us of the human genius, –what it is to be human. Each detail illuminates the type and is what we call the universal in the particular – “someone like ourselves”. When we recognize this we are being objective – through putting ourselves in the place of another – we leave our ego behind.
We have to recognize we are all parts of a whole. We can put ourselves into another situation, objectively. This awareness of the wider picture, see outside of ourselves, is the action of leaving our ego behind.
The Ethical Imagination is a power of control
This is how we as individuals relate to a situation by projecting our own morals and values to it.
There are no rules – each person must decide. Yet we are not completely at sea, if we refer to RHN.
…the ethical imagination is absolute, he never ceases to explore and cultivate it. – To the art lover, we possess it in differing degrees, all may cultivate it. It is intuitive, you get at the truth through insight and you get better at it with practice, through comparison…
There are no rules to the out come of the interaction between art and an individual, it is subjective. However, the more time we spend engaging with art work, the more natural and comfortable the process will become.
the true artist is always true to his art; the impostor is self-conscious, demonstrating his idea, projecting his theory, his ego, and e.g. the figures of the painter are not borrowed ideas who demonstrate themselves talking, dying, dreaming they do it. They are of themselves and they LIVE! – and the flowers are not showing us how pretty they are, or how weird – they are what they are – Etc.! No invention for the sake of invention! Invention must serve the purpose of art.
Art is the only objectivity available to human beings; real life, including science, cannot do this: art is objectivity.
Art is truth. It is about holding a mirror up to the viewer, presenting them with life, albeit a different side of life. Giving the viewer the opportunity to find their truth within the experience, based on the truth of the artist and the honesty of the art. There are no smoke and mirrors.
‘Very good, - I recognize art: Therefore art exists! No matter how great the artist, if no-one appreciates his work then he goes unrecognised: Therefore no culture! It’s up to us as judges.
But – the artist has no responsibility to culture or to us: He serves art, alone.
This is the true meaning of the L’art pour l’art movement, mistakenly translated as “Art for art’s sake”.
At is the dialogue between audience and work. An artists dialogue is internal and results in artwork. Art and audience is a separate reality and breeds culture.
‘Progress in art – Picasso! What would he not have given to capture the “mana” of those bulls from the cave paintings of twenty thousand B.C.? If art progressed then today’s painter would be greater than Picasso.’
Art is not about progression. Artists are not getting better as time passes. The evolution of art is a result of social change, and the different interactions occurring within artists. Objectivity means art will always be relevant.
‘All effective propaganda has to limit itself only to a very few points and to use them like slogans.’
Branding; both social and personal.
Propaganda is:-
Nationalistic Idolatry, Non-Stop Distraction and Organized Lying
Well, “something different” is not always art, and culture is not local and peripheral but a universal and centralising power.
Art means more than identifying difference. It is universal relevant when one understands how to relate to it.
The artist is alive to difference and that is what makes his work original. He sees the common element in things that are apparently different and discriminates between things that are apparently similar. The Chinese say that the painter finds likeness in unlikeness and unlikeness in likeness.’
To be truly original, an artist must be able to recognize commonality. Only then are they able to find show present others with a unique perspective.
“Since cultural goods and services arise from human creativity, it follows that cultural diversity will be enhanced in conditions conducive to creative activity and to the production and distribution of a wide range of cultural products”.
In places where creativity is encouraged and nurtured, logic states there should be increased culture and awareness.
Through art we see the future. It holds up a mirror of our human potential; – or, as victims of our mere cleverness we will remain the destructive animal. Our innovations can contribute to progress, but our humanity is a scientific fact, and must be taken into account for advance to happen, otherwise we have partial science which will kill us.
Art is the means to reflect on the ills of civilization and progress from these as a more aware society. Though familiarity with art, we are arming ourselves with the power of knowledge and understanding.
If you follow it your life will change. In the pursuit of culture you will start to think. If you change your life, you change the world.
Only in the pursuit of change do we truly effect change.
Project Outline…
In June I attended a reading of Vivienne Westwood’s Manifesto, “Active Resistance to Propaganda”. The key ideas within the piece resonated with me, and have influenced the growth of my work since.
Put most simply, I see the key point of the manifesto being that only by embracing a new, more environmentally friendly way of life, will we be able to remedy the damage our civilization has done to the earth. This should not be seen as a punishment for the ills of ancestors, but as a celebration. Westwood believe our generation’s willingness to embrace a cause and follow it whole-heartedly is the key to the salvation of the planet.
The first step is effecting change.
Instead of pursuit of material possession and financial gain, Westwood promotes knowledge and information becoming the new currency passed amongst society. Individual’s purpose in life being to fully understand and appreciate culture, art, and fashion freely, without limits; for it to be a part of their everyday life.
My starting point for this project is to fully digest Westwood’s manifesto, and explore the aspects of it I find most interesting. In turn, I will write my own manifesto, putting these concepts into practice.
I am exploring ways in which garments can be used as an interface; a constructed forum upon which an individual invites interaction between themselves and society. This information will form the basis of my research around the manifestation of my project; the garment becoming a space for fashion designers and artists to collaborate. Blurring the boundaries of both fashion and art, taking them out of the contained spaces, and allowing them to engage with each other and the viewer.
My initial idea is to introduce some sort of screen into the garment, either displaying a still or motion graphic of the artwork or works. A season, or line, will be paired with an exhibit. Within each garment, there will also be a device, which emits a receivable feed. Viewers will be able to download this information, which will act as a digital catalogue for both the designer and artist, allowing the passing of knowledge between the wearer and the public.
It is important that the designer and artist work together, creating an overall affect. The integrity of the artwork, or fashion pieces should be compromised by the other. Equally, the artwork and garment is not interchangeable. The wearer is making a choice when they select a piece, and taking ownership for the statement and effect their garment makes.
Artist References, cont…
Both my theretical and practical work has been influenced by a wide range of artists, working in various mediums of art and design:
Floria Sigismondi http://www.floriasigismondi.com/
Bill Henson http://www.roslynoxley9.com.au/artists/18/Bill_Henson/
David Carson http://www.davidcarsondesign.com/
Rob Sheridan http://www.rob-sheridan.com/
Kirsten Glass http://kirstenglass.com/
Natasha Kerr http://www.natashakerr.co.uk/
Leigh Bowery http://www.alissongothz.com.br/leighbowery/
Vivienne Westwood http://www.viviennewestwood.com/flash.php http://www.activeresistance.co.uk/
Diane Arbus http://www.masters-of-fine-art-photography.com/02/artphotogallery/photographers/diane_arbus_01.html
Alexander McQueen http://www.alexandermcqueen.com/
Pierre et Gilles http://www.optimistique.com/pierre.et.gilles/
Maggie Orth http://maggieorth.com/
Lucy Orta http://www.studio-orta.com/biography.php?ida=1
Zane Berzina http://www.zaneberzina.com/
Gareth Pugh http://www.garethpugh.net/
Artist Influences…
Some of the images below in my mood board are fairly unclear… so here is a list of the artist who’s work i used:
Alexander McQueen (the collage in the top left)
Marcel Dzama
Scott Traveleayen
Jonathan Hernandez
Capital
John Stezaker
Simon Foxton
Richard Prince
Cai Quo-Qiang
Camille Rose Garcia
Femke Hiemstra
Oksana Badrak
Mike Rea
The Fashion labels are:
McQueen
Prada
Tarina Tarantino
LAMB
Marc Jacobs
My style mood board.
This mood board represents image, fashion, and styles that represent my choices.
more technologies…
this week i became familiar with Philips LUMAlive.
http://www.lumalive.com/business/
i have emailed the NYC stockist to see if they are willing to donate any samples to me, or to order a price list. as yet i have had no response.
i missed the SwitchCraft launch, but have been looking at the work of Costello
http://threeminds.organic.com/2008/10/switch_craft_batterypowered_cr.html
finally (for right now) i am REALLY excited about the Lucy Orta talk on Wednesday. i saw her work in London a couple of years ago, and am interested to see what materials she is using at the moment.
