AUTHENTICITY IS THE NEW BEAUTY
If it is true that there is no bad drawing, then what about beauty? Authenticity is the new Beauty.
Authenticity is the sui generis of the visual idea. We’re not talking about the authenticity of the art work, as in, was it really painted by Picasso? Our focus is the thinking that shaped the form. Was the thinking authentic?
Instead of beauty, we want to know if what someone created was algorithmically generated. We want to know what the Source Images were. What is the DNA of the design solution? Where are the roots? Is the visual idea original?
“One of the greatest innovations in twentieth-century drawings involves the degree to which they make visible things that cannot be seen – states of mind, ideas and processes.” Gary Garrels.
Value will shift from beauty to authenticity. Are we really going to keep paying for someone’s opaque oil painting of, say, flowers, which is nothing more than an emotional mishmash of confused cultural tropes? Instead, we will pay for clear and authentic conception of form.
HISTORY
While it is only now that I have the courage to state this clear paradigm shift, I have been alluding to this over the years, as various pages at this website demonstrate:
-we show our sources, typically Source Images
–Ronchamp Provenance: LeCorbusier copied another church for Ronchamp
-I have proposed Design Blockchain for Design Authentication
-there is a page that I wrote 4 years ago titled Design Provenance
-if nothing else, check out the Transparent Drawing Manifesto
-etc., etc, etc.
Was Duchamp worried about beauty in the Large Glass? Was Picasso worried about beauty in Guernica? Was Le Corbusier concerned with beauty in the Villa Savoye? No, No, and No. Are they authentic? Yes.
Do we accept the Altes Museum as beautiful? Yes. Is it authentic? No. Same for the Brugel painting that we have kicked around in these pages many times. How could anything that is Neo-classical be authentic?
FREEDOM
Without the oppressive cultural artificiality of the term beauty, we are free to:
–draw outside our culture
-discover the harmonic structure of our forms
-not care what our drawing looks like
-find our own pathway to form generation and analysis
–Draw Like a Byzantine
-and just have more fun!
Is my drawing at the top beautiful? It better not be. Does it create a previously unimaginable form? Unequivocally. My Source Images are below. I generated this form and I know where it comes from. I can prove that I just didn’t copy something similar. I used the tools of Transparent Drawing, one being Form Combine, and then generated holistic form. Therefore, the solution is authentic. And I could turn my drawing into a building or some other holistic constructible form with out even trying.
Form 2 – Turkish ornament as Form Combine: Jones
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I don’t pretend that the above does any justice to this concept. Seems to me like Authenticity is the New Beauty will make a great title for a book.
If anyone wants to work with me to get this started, then we need to develop a Design Blockchain App, which would authenticate the design provenance. I don’t think that would be too difficult, given the digital image recognition capability that already pervades us.
Buen día hermano mío.
El tema que abordas es realmente complejo.
En mi modesta opinión, no hay arte bueno ni malo. Lo que es determinante es si el publico conecta con ella o no. Lógicamente, si el publico es decadente, conectara con arte que le sugiera afinidad con su estado. Si el publico es intuitivo, conectara con arte intuitivo…El publico siempre conectará con arte con el que sienta identificado…Eso es lo usual. Lo repudiable es el accionar de quienes se autonombran CRITICOS DE ARTE, y fabrican e inventan tendencias, y que muchos públicos imbecilizados se lo asumen como verdad.
Desde mi personal posición siempre apostaré por el arte IN-CO-HERENTE. Traduciré lo que significa IN-CO-HERENCIA…”NO CONVIVO CON LO QUE ME HEREDARON” Es decir un arte con visión de cambio, NO HECHO PARA AGRADAR, NO BONITO, NO DECORATIVO…
Para quienes no comulguen con mi idea, sigan en lo suyo. En este mundo hay arte para todos los gustos.
KURT, hermano mío. Gracias por compartir.
BELOW IS THE ENGLISH TRANSLATION, VIA GOOGLE TRANSLATION, OF MR. MEJIA’S FANTASTIC LETTER.
Good morning my brother.
The issue you address is really complex.
In my humble opinion, there is no good or bad art. What is decisive is whether the public connects with her or not. Logically, if the public is decadent, it will connect with art that suggests an affinity with its state. If the public is intuitive, they will connect with intuitive art … The public will always connect with art with which they feel identified … That is the usual. What is reprehensible is the actions of those who call themselves ART CRITICS, and manufacture and invent trends, and that many imbecilized audiences assume it to be true.
From my personal position I will always bet on IN-CO-HERENTE art. I will translate what IN-CO-INHERITANCE means … “I DO NOT LIVE WITH WHAT THEY INHERITED ME” That is to say, an art with a vision of change, NOT MADE TO PLEASE, NOT PRETTY, NOT DECORATIVE …
For those who do not agree with my idea, continue in yours. In this world there is art for all tastes.
KURT, my brother. Thanks for sharing.