THOUGHTS ABOUT THE FUTURE OF ART

8/14/2019 THOUGHTS ABOUT THE FUTURE OF ART

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Thoughts About the Futureof Art in the 21st Century

Copyright 1997 Richard (Rick) dearis !ob"eRick Doble's workis licensed under a

Creative Commons Attribution 4.0 International License#ou $ust credit author Rick !ob"e if you %uote fro$ his artic"e&

Reprinted at these "ocations'(see the Appendi on pa!e "# $or more in$ormation%

THE ANIMIST(Australia)

ane" !iscussion' The Future of Art (2*)+an ,ose +tate -ni.ersity/ +an ,ose/ Ca"ifornia/ -+A

&his is an eperimental outline written in " durin! the earliestda)s o$ the Internet and di!ital photo!raph). &he purpose o$ this

outline was to ask *uestions and su!!est answers about the role o$art as the world entered the +"st Centur). ,ecause the outline was

open ended and eperimental- it also invited others to oin thediscussion.
http://creativecommons.org/licenses/by/4.0/http://creativecommons.org/licenses/by/4.0/


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For the artist communication with natureremains the most essential condition.

The artist is human;himself /D1 hersel$2nature;

part of nature...au" 0"ee/ Paths of the Study of Nature/ 192

What is the new mythology to be,the mythology of this unified earth

as of one harmonious being?...

For it is the artistwho brings the images of a mythologyto manifestation, and without images

(whether mental or visual)there is no mythology.

,oseph Ca$pbe""The Inner Reaches of Outer Space:

Metaphor as Myth and as Religion/ 193

The old bond between humans and naturehas been permanently altered by technology.

The tas of the !"st century artistis to forge a new relationship

between humans and the world,since our fate is inseparable

from that of the #arth.

Rick !ob"e/ 1997

Doble- Rick Thoughts $bout the Future of $rt in the !"st %entury 3a!e +


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Thoughts About

the Future of Art

in the 21st Century,Revision 2.0 (1997)

by Rick ob!e

This "rtic!e is "n unfinishe# "n# evo!ving #r"ft. $ fee! th"t

"rtists "n# thinkers shou!# offer unfinishe# %orks to the &ub!ic

"s !ong "s the %orks "re !"be!e# "s such.

$. T'$ $ A *F$$'+ A +-$/ RAFTA. $t is &resente# in out!ine for.

1. "ny of the st"teents "re in note for or

"re inco&!ete sentences.

2. A fin"! finishe# #r"ft %i!! correct this.

. $ fee! th"t "rtists "n# thinkers shou!# offer

unfinishe# %orks to the &ub!ic "s !ong "s the

%orks "re !"be!e# "s such. C. $ " #oing this in the s&irit of the fo!!o%ing

i#e"s.

. A!though consi#er"b!e %ork "n# thought h"s

"!re"#y been #evote# to this st"teent, it is not

unch"nge"b!e.

+. $ invite coents.

F. $ es&eci"!!y %e!coe suggestions "bout %h"t

to c"!! this kin# of "rt oveent.

1. 3!e"se e4"i! us your suggestions.

2. 5h"t %ou!# you n"e or c"!! this kin# of "rtoveent6

Doble- Rick Thoughts $bout the Future of $rt in the !"st %entury 3a!e


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$$. $TR-*CT$-

A. *& unti! recent!y ("bout 100 ye"rs "go)

&"inters &"inte# #irect!y fro n"ture.

1. o% ost &"inters ten# to cre"te fro their

i"gin"tion, fro subective inner nee#s "n# inner

i&u!ses or they &"int b"se# on "bstr"ct&rinci&!es or conce&tu"! i#e"s.

") $nste"# of #r"%ing fro n"ture #irect!y,

soe &"inters #r"% fro their inner n"ture.

1) For e8"&!e, "ckson 3o!!ock use# to &oint

out th"t he, hise!f, %"s n"ture.

2. 3"inting h"s becoe ost!y stu#io oriente#.

. 3"inting h"s reove# itse!f fro n"ture for

the s"e re"son th"t the society itse!f h"s

reove# itse!f fro n"ture.

1. 3eo&!e "re no !onger subect to the s"e

#ev"st"ting forces of n"ture th"t contro!!e# their

!ives " ere 200 ye"rs "go.

2. Civi!i:"tion h"s overcoe n"ture to " !"rge

e8tent.

") 3eo&!e !ive uch !onger.

1) $n ust 200 ye"rs our !ife e8&ect"ncy h"s

"!ost #oub!e#.

") 3eo&!e !ive ore secure "n# &re#ict"b!e!ives.

1) For e8"&!e, "ny !eth"! #ise"ses h"ve been

%i&e# out or c"n be e"si!y tre"te# %ith

"ntibiotics or &revente# %ith " v"ccine.

2) oth !ong #ist"nce tr"ve! "n# tr"ve! c!ose

to hoe c"n be re!i"b!y sche#u!e# (ost of the

tie) %ithout being subect to the %e"ther.

;) Counic"tions "re effort!ess

"< +.g. the &hone, f"8es, "n# e4"i! on "

&erson"! !eve! b< +.g. T, r"#io, "g":ines, ne%s&"&ers, "n#

the $nternet

=) 5e h"ve " re!i"b!e "n# che"& su&&!y of foo#

"n# energy.

C. 3"inting in this century h"s ere!y ref!ecte#

Doble- Rick Thoughts $bout the Future of $rt in the !"st %entury 3a!e 4


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the bre"k %ith n"ture th"t the civi!i:"tion "s "

%ho!e h"s e8&erience#.

. 'u"n beings "re " &"rt of n"ture "n# unti!

recent!y !ive# c!ose to n"ture for better or

%orse.

1. For hun#re#s of ye"rs the go"! of techno!ogy

"n# science %"s to con>uer n"ture, to sub#ue it toserve the nee# of hu"ns.

") This h"s !"rge!y been "cco&!ishe#, for

better or for %orse.

+. $n short the o!# re!"tionshi& th"t hu"ns h"#

%ith n"ture h"s been broken "n# %e c"n never go

b"ck.

F. 'o%ever, in the ne"r future %e %i!! be

confronte# %ith the &rob!es th"t %e h"ve cre"te#. 1. The * esti"tes th"t in the ne8t century

%or!# &o&u!"tion %i!! re"ch the "8iu th"t the

+"rth c"n sust"in.

2. Accor#ing to the Larousse Desk Reference the

+"rth %i!! run out of "ny essenti"! "teri"!s in

the ne8t 1004200 ye"rs.

") e"#, :inc, ercury "n# tin "re e8&ecte# to

run out in the ye"r 201?, co&&er in 20;?, nicke!

in 20@0, iron in 21@0, "n# "!uinu in 2220.

;. $n "##ition there "y be g!ob"! %"ring %hich

is " conse>uence of civi!i:"tion.

") The %e"ther "n# se" !eve!s "y be "ffecte#.

=. Further the #estruction of hun#re#s of

s&ecies "n# the #estruction of the r"in forest "y

"ffect us in %"ys %e #o not yet re"!i:e.

/. $n short, %e ust !e"rn to un#erst"n#,

confront, "n# "n"ge our o%n n"ture bec"use it is

our n"ture th"t h"s cre"te# the %or!# %e !ive into#"y "n# %i!! cre"te the %or!# of the future.

1. -ur o%n n"ture is no% our gre"test #"nger.

'. $n "##ition bec"use %e h"ve becoe so !"rge

"n# #oin"nt "s " s&ecies, %e ust "!so "n"ge the

&!"net 44 becoe the custo#i"ns of n"ture "n#



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the +"rth fro %hich %e c"e.

1. At this &oint %e h"ve no choice.

2. ec"use of the iense &o%er %e h"ve "chieve#

"n# %hich %e %i!! never re!in>uish, %e ust "!so

!e"rn to "n"ge the +"rth itse!f.

$. The go"!s of the e% Art %i!! be to

1. To e8&!ore "n# un#erst"n# our o%n n"ture inre!"tion to the +"rth.

2. To e8&!ore " ne% re!"tionshi& %ith n"ture

since the o!# bon# h"s been broken.

. This is " heroic t"sk in the best sense of the

%or#.

1. There is no gu"r"ntee of success, but th"t is

the n"ture of heroic t"sks.

2. 3"inting "n# "rt is %e!! suite# to cre"te ne%

i"ges "n# icons th"t c"n serve "s touchstones "n#gui#es to our future.

;. ince this is %here the future "n#

civi!i:"tion is !e"#ing us, it is on!y n"tur"!

th"t &"inting "n# other "rts %ou!# "!so ove in

th"t #irection "n# be in the v"ngu"r#.

$n short, %e ust !e"rn to un#erst"n#, confront,

"n# "n"ge our o%n n"ture bec"use it is our n"tureth"t h"s cre"te# the %or!# %e !ive in to#"y "n#

%i!! cre"te the %or!# of the future.

Doble- Rick Thoughts $bout the Future of $rt in the !"st %entury 3a!e #


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$$$. 3R$C$3+

A. The %or# hu"n coes fro BhuusB e"ning soi!

or e"rth

1. 'u"n e"ns Bfro the e"rthB or Bof the

+"rthB

2. 'u"ns ust const"nt!y seek to rene%,recre"te "n# ce!ebr"te their re!"tionshi& %ith the

+"rth fro %hich they c"e.

. -ur go"! is to cre"te " ne% "rt %hich e8&!ores

the re!"tionshi& bet%een hu"ns "n# the +"rth on

%hich they !ive.

C. -ur go"! is to "!so un#erst"n# hu"n n"ture in

re!"tion to the +"rth.

. To cre"te sybo!s, icons, "n# e8&eriences th"t

gui#e "n# he!& hu"ns in this un#erst"n#ing.

+. 5orks shou!# e8&!ore o#ern e8&ressions of

yth, vision, story, #re"s, #esires, %"nts,

i#e"!s.

F. $n or#er to "chieve the "bove there shou!#

"!%"ys be "n e&h"sis on the hu"n sc"!e.

/. 5orks shou!# cre"te or evoke " sense of &!"ce.

A sense of &!"ce is i&ort"nt to " hu"ns sense

of be!onging.

'. ince hu"ns nee# to fee! th"t they "re B"

&"rt of thingsB or B" &"rt of the %or!#,B %orks of

"rt shou!# he!& &eo&!e bri#ge their sense of

#is!oc"tion.

$. $n or#er to he!& cre"te " sense of be!onging,

%orks of "rt ight refer to, #erive fro, or

re!"te to &revious "rt fors. y &revious %e e"n

the entire history of civi!i:e# "rt "s %e!! "s

&riitive, &rehistoric"!, fo!k, "n# n"ive "rt.

. $n or#er to he!& cre"te " sense of be!onging,



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%orks of "rt ight inc!u#e the n"tur"! rhyths of

the +"rth.

D. This "rt shou!# often (but not "!%"ys) be "n

inc!usive "rt. y inc!usive %e e"n "n "rt %hich

h"s %i#e "&&e"! "n# is "ccessib!e to &eo&!e.

1. Too uch of o#ern "rt h"s "&&e"!e# to "n

in4cro%# "n# #e!iber"te!y &ut "ny vie%ers "t "#ist"nce.

. This is not " e% Age &hi!oso&hy

1. $ts fun#"ent"! ten"nts "re b"se# on the

best &re#ictions by re!i"b!e sources.

2. $.e. th"t hu"ns "re "bout to re"ch the

!iits th"t this +"rth c"n &rovi#e in ters of

&o&u!"tion, "bi!ity to e8tr"ct essenti"!

resources, "n# the "bi!ity of the +"rth to "bsorb

"n# "ccoo#"te hu"n by4&ro#ucts "n# &o!!ution.



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$. T'-*/'T

A. 'u"ns h"ve " fun#"ent"! nee# to be!ong "n#

to fee! "t hoe "n# to "!so fee! " &"rt of their

%or!#. This c"nnot be re&rogr"e# or reove# fro

the hu"n &syche %ithout serious conse>uences.

1. -ne conse>uence cou!# be th"t hu"ns #estroy

the !ife sust"ining &o%er of the +"rth %hich %ou!#

#oo the hu"n r"ce.

2. 'u"ns "re not "chines %hose nee#s "n#

#esires c"n be re&!"ce# "n# re#esigne# "t %i!!.

") 5hi!e ch"nges c"n be "#e, they ust be "#e

%ithin the !iits of %h"t the hu"n &syche c"n

"cce&t.

;. 'u"ns ust coe to ters %ith their "ni"!

n"ture.

") uch of %h"t %e #o is h"r#%ire# fro100,000s of ye"rs "go.

b) 'u"ns ust recogni:e "n# coe to ters %ith

their "ni"! n"ture before they c"n "ke

e"ningfu! ch"nges.

. Art %hich inc!u#es the n"tur"! rhyths of the

+"rth cou!# inc!u#e

1. The %e"ther

") +.g. %hy not inst"!!"tions th"t "re #esigne#

to be !ooke# "t in r"iny %e"ther or c!ou#y #"ys or sunny %e"ther6

2. "y "n# night

") +.g. %hy not "rt fors th"t t"ke "#v"nt"ge

of the &oint in tie th"t h"&&ens e"ch t%i!ight

%hen "rtifici"! !ight "n# n"tur"! !ight "re in

b"!"nce6

;. The se"sons

=. The !"n#sc"&e

?. The oon @. The st"rs

7. The ti#es

E. The suer "n# %inter so!stice

") The suer so!stice h"s been !"rge!y

forgotten.

1) tonehenge "n# other "ncient onuents %ere

bui!t to "rk "n# &ossib!y coeor"te this event.



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b) The %inter so!stice is "rke# "n#

ce!ebr"te#, essenti"!!y by Christ"s "n# e%

e"r.

1) -ne of the re"sons th"t Christ"s "n# e%

e"rs "re such &o%erfu! cereonies is th"t th"t

hu"n &"rtici&"te in "n "ncient ritu"!.

"< uch "s

i< ighting !ights "t the #"rkest tie of the ye"r

ii< ringing " tree into the house

b< uch of the ritu"! of Christ"s invo!ves

&"g"n "n# Ro"n ritu"!s

i< /ift giving "n# " %eek !ong ce!ebr"tion

u& to the e% e"r is fro the Ro"n "turn"!i"

festiv"!

c< Christ"s is "!so &o%erfu! bec"use it

invo!ves the "!! the senses

i< Church cereonies ii< usic

iii< Foo#

iv< e!!s

v< /rou& g"therings

vi< Co!or

vii< An# of course invo!ves the #ee&est

re!igious nee#s

9. The f"!! "n# s&ring e>uino8

") The f"!! e>uino8 is !"rge!y ignore# "s "

ce!ebr"tion

b) &ring is ce!ebr"te# by +"ster

10. There %ere "!so i#4se"son festiv"!s, soe

of %hich %e ce!ebr"te to#"y

") +.g. '"!!o%een

b) i#4se"son festiv"! %ere not ce!ebr"te# "t

the e8"ct i#4&oint but r"ther "&&ro8i"te!y "t

the i#4&oint.

C. A!though this is " heroic effort, it "y invo!ve coo&er"tive efforts "ong "rtists "n#

invo!ve "rtists "n# others fro " nuber of

#isci&!ines.

1. An inter#isci&!in"ry ne% "rt "y %ork %ith

"n# inc!u#e other "rts such "s &oetry, !iter"ture,

song, #"nce, the"ter, usic, &hotogr"&hy,

scu!&ture "n# es&eci"!!y "rchitecture, &!us other

Doble- Rick Thoughts $bout the Future of $rt in the !"st %entury 3a!e "0


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"rt fors.

") Artists shou!# "t ties %ork in

co!!"bor"tion. This kin# of coo&er"tion %i!!

cre"te ne% "rt "n# "rt fors %hich invo!ve

synthesis "n# u!ti&!e #isci&!ines.

b) This kin# of coo&er"tion %i!! cre"te "n "rt

%hich #oes not e&h"si:e the in#ivi#u"! "rtist "s

uch "s the &"rtnershi& or " coo&er"tive effort. c) +8"&!es in the &"st

1) The b"!!ets of tr"vinsky %hich inc!u#e#

f"ous choreogr"&hers "n# &"inters

2. The in#ivi#u"! "rtist "y be " !itt!e !ess

i&ort"nt th"n he or she h"s been in the &"st.

. 5hi!e uch o#ern e&h"sis h"s been on "rt

th"t s&rings co&!ete!y ne% fro the "rtists

in#, our e&h"sis is >uite #ifferent. Art shou!#

often evoke, refer to, &"y ho"ge to, or be re!"te# to e"r!ier "rt or "rt fors.

1. $n the history of "rt this h"s been the ru!e

"n# not the e8ce&tion.

") $ts on!y recent!y th"t "rtist fe!t they

ust cre"te soething co&!ete!y ne%.

2. +ven r"#ic"! o#ern "rt h"s been re!"te# to

e"r!ier "rt fors

") There "re #o:ens of e8"&!es but here "re "

fe%

1) 3ic"sso stu#ie# Afric"n "sks before

cre"ting the !"n#"rk o#ern "ster&iece Les

Demoiselles d'Avignon.

2) 3"u! D!ee stu#ie# &riitive "n# fo!k "rt of

his country.

;) 'enry oore #re% on 3re4Co!ubi"n "rt for

his scu!&tures.

=) "ckson 3o!!ock referre# to the "v"o

$n#i"n s"n# &"intings "s &"rti"! ins&ir"tion for

his #ri& &"intings. ?) "rtok use# 'ung"ri"n fo!k usic "s " "or

&"rt of his usic"! co&ositions.

+. This ne% "rt shou!# inc!u#e "n e8&!or"tion of

the yths "n# i#e"!s th"t h"ve gui#e# hu"ns in

the &"st.

1. For e8"&!e, soe fee! th"t o#ern %estern

Doble- Rick Thoughts $bout the Future of $rt in the !"st %entury 3a!e ""


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civi!i:"tion h"s been &ri"ri!y gui#e# by the yth

of 3roetheus.

") 3roetheus sto!e fire fro the go#s "n# g"ve

it to the hu"ns.

1) This g"ve hu"ns unto!# &o%er, so uch

&o%er th"t the /o#s these!ves %ere "ngry "n#

&unishe# 3roetheus.

F. The &"rticu!"r construction of these i"ges

"n# sybo!s c"n be >uite f!e8ib!e.

1. $n &"rticu!"r, they c"n #r"% on the history

of "rt of the !"st hun#re# ye"rs 4 the nuerous

e8&erients th"t h"ve !eft us %ith " rich !eg"cy

to %ork %ith in cre"ting " ne% e8&ression.

/. $t shou!# "t ties be !ess stu#io oriente# "n#

ore invo!ve# %ith the outsi#e "n# +"rth itse!f.

'. Architecture shou!# inc!u#e the outsi#e "n#

cre"te tr"nsition "re"s fro outsi#e to insi#e

(such "s the bui!#ings of Fr"nk !oy# 5right).

1. The bui!#ings in %hich %e !ive, shou!# not be

%"!!s "g"inst n"ture %ith %in#o%s th"t #ont o&en

"n# "ir th"t becoes sick bec"use it circu!"tes

%ithin the bui!#ing.

$. The ch"nge %e "re going through "y be "s

&rofoun# "s the ch"nge th"t hu"ns e8&erience#

%hen they !e"rne# "gricu!ture "n# the

#oestic"tion of "ni"!s.

1. This ch"nge "!!o%e# civi!i:"tion to f!ourish

bec"use there %"s " sur&!us of foo# "n# the foo#

su&&!y %"s ore &re#ict"b!e.

. Dnee4erk &o!itic"! re"ctions "n# environent

&o!itic"! correctness "re not %e!coe. The &ur&ose

is "n o&en in>uiry "n# free #i"!ogue.

D. An "rt %hich is !ess coerci"! %ou!# he!&

"tt"in these go"!s.

1. An "rt %hich you cou!# not buy, or &ossess

("t !e"st in the usu"! sense) ight be he!&fu!.

2. For e8"&!e, i"ges cre"te# ust for the

$nternet %hich #is&!"y best on co&uter onitors

Doble- Rick Thoughts $bout the Future of $rt in the !"st %entury 3a!e "+


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%ou!# not h"ve coerci"! v"!ue "n# they cou!# not

be hung on the %"!!. A!though " &rint cou!# be

"#e, the effect %ou!# be >uite #ifferent th"t the

i"ge seen on " onitor.

. oe o#ern "rt h"s "!re"#y ove# in the

gener"! #irection of our e% Art &rinci&!es 4

out!ine# "bove. 1. The B"n# ArtB oveent

") Christos %r"&&e# !"n#sc"&es

b) The Lightening Fieldby 5"!ter e"ri"

2. 3ic"ssos Chic"go scu!&ture %hich cont"ins

%ires th"t eit soun#s %hen the %in# b!o%s through

it.

") $t is very "&&ro&ri"te for the 5in#y City

b) $t is " scu!&ture %ith " sense of &!"ce "n#

" sense of the environent into %hich it %"s

&!"ce# ;. "ckson 3o!!ocks #ri&&e# &"intings %hich

%ere ins&ire# in &"rt by the "v"o $n#i"n s"n#

&"intings. These s"n# &"intings %ere cre"te# by

sh""n %ho &oure# co!ore# s"n# into the sh"&e of

figures. "ter the %in# b!e% the s"n# "%"y.

=. r"ncusis en#!ess co!uns

?. The re"!istic scu!&tures of &eo&!e.

") These scu!&tures "re on the hu"n sc"!e.

They "re "re so re"!istic th"t &eo&!e re"ct to

the "s though the scu!&tures %ere &"rt of their

s&"ce not !ike the usu"! scu!&ture th"t is

se&"r"te# fro the vie%er.

@. Rick ob!es #igit"! i"ges of Woman in

Motion.

") y o%n "rt h"s concentr"te# on re"!istic

i"ges of hu"ns (they "re b"se# on &hotogr"&hs),

th"t e&h"si:e the hu"n sc"!e "n# yet the i"ges

these!ves "re iconogr"&hic "n# soe%h"t sybo!ic.

. ec"use techno!ogy h"s ch"nge#, the ro!es of

en "n# %oen "re #ifferent.

1. 5oen "n# en %i!! be fu!! e>u"!s.

2. This is one of the ost &rofoun# ch"nges in

hu"n n"ture.

;. The n"ture "n# ro!e of %oen h"s ch"nge#.

") 5oen no% h"ve contro! over their bo#ies.

Doble- Rick Thoughts $bout the Future of $rt in the !"st %entury 3a!e "


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b) 5o"n c"n no% e"rn " !iving "n# be

in#e&en#ent.

=. The ro!e of en h"s ch"nge#.

") en nee# to fin# ne% o#e!s, ne% heroes to

ins&ire the.

1) The hero %ho sub#ue# n"ture, &rotecte# "n#

&rovi#e# for his %ife "n# chi!#ren "y no !onger

be v"!i#. 2) The "!e structures of hier"rchy, ch"in of

co"n# "n# &ecking or#er "y nee# to be "!tere#.

;) The uscu!"r "!e hero %ho #efe"ts "!! foes

"y nee# to be revise#.

?. There nee#s to be stories "n# yths of the

heroic th"t "&&!y to both en "n# %oen.

. 5hi!e this is "n inc!usive vision, it #oes

fin# f"u!t %ith soe o#ern tren#s.

1. 3o& "rt !egitii:e# "#vertising in " %"y th"t h"s "#e "#s uch ore "cce&t"b!e. A#vertising no%

enters every corner of our !ives.

") $n &"rticu!"r "#vertising h"s intru#e# into

our ost s"cre# "n# i&ort"nt ho!i#"ys "n#

festiv"!s. $t h"s even st"rte# cree&ing into our

&erson"! "nnivers"ries such "s birth#"ys %ith

"i!e# "#vertiseents or ho!i#"y c"r#s #esigne#

to re"ch the consuer ust before his or her

birth#"y.

2. Architecture, th"t cre"tes c"nyon %"!!s in

the o#ern city, h"s ignore# the hu"n sc"!e "n#

the environent into %hich bui!#ings "re &!"ce#.

") ui!#ings nee# to be ore th"n bo8es &!"ce#

on " gri#.

1) This #estroys our sense of &!"ce "n#

cre"tes "n8iety.

b) $n "ny of these bui!#ings you c"nnot o&en "

%in#o% or get fresh "ir, hence the fre>uent Bsick

bui!#ingB syn#roe. c) Architecture nee#s to be cre"te# th"t

&rovi#es tr"nsition"! "re"s fro insi#e to outsi#e

"n# %hich #oes not set the bui!#ing "n# the insi#e

environent co&!ete!y se&"r"te "n# "&"rt fro the

outsi#e environent of the %or!#.

1) For e8"&!e, bui!#ings shou!# h"ve soe

b"!conies, roof to& g"r#ens, "n# other &oints th"t



15/21

o&en to the outsi#e.

;. 5e be!ieve th"t this oveent %i!! be o&&ose#

by " nuber of &eo&!e bec"use it is not business

"s usu"!.

") oe &eo&!e %i!! #isiss it "s n"ive, or try

to &"int it "s " "nother ne% "ge &hi!oso&hy.

1) This is f!"t!y %rong.

2) Those %ho think this "re these!ves n"ive bec"use it is c!e"r th"t the +"rth "n# hu"n kin#

%i!! go through "or ch"nges in the ne8t century.

;) The %"rnings "n# b"sis for our &hi!oso&hy

"re b"se# on the best current infor"tion "n#

&re#ictions by the ost infore# sources.

b) 5hi!e %e #o not o&&ose coerci"! "rt, %e

%ou!# #e4e&h"si:e it.

1) This is boun# to u&set &eo&!e %ho "ke "

!iving fro the buying "n# se!!ing of "rt.

"< They %i!! try to be!itt!e its i&!ic"tions.



16/21

A45!6

This artic"e 8as 8ide"y reprintedacross the 8eb around the year 2&

6t can sti"" be found on"ine at the fo""o8ing 8ebsites&

Doble- Rick Thoughts $bout the Future of $rt in the !"st %entury 3a!e "#


17/21

THE ANIMIST,a major Australian art ezine, created this graphic and

emphasized these thoughts from m essa

--The goals of the New Art will be:1. To explore and understand our own nature in relation to the Earth;2. To explore a new relationship with nature since the old bond has been

broken. ...--u!ans ha"e a funda!ental need to belong and to feel at ho!e and to alsfeel a part of their world. This cannot be reprogra!!ed or re!o"ed fro! thehu!an ps#che without serious conse$uences ...

This article can !e found through "andora, Australia#s $e! archi%e,

$hich is part of the National &i!rar of Australia'

http177pandora.nla.!ov.au7nph8wb7"0""00007http177theanimist.net!a9er.net.au7p!0000.htmlhttp177pandora.nla.!ov.au7nph8wb7"0""00007http177theanimist.net!a9er.net.au7:ldemadow+.htmlhttp177pandora.nla.!ov.au7nph8wb7"0""00007http177theanimist.net!a9er.net.au7:ldemadow.html

http://pandora.nla.gov.au/nph-wb/19990731130000/http://theanimist.netgazer.net.au/pg000037.htmlhttp://pandora.nla.gov.au/nph-wb/19990731130000/http://theanimist.netgazer.net.au/pg000037.htmlhttp://pandora.nla.gov.au/nph-wb/19990731130000/http://theanimist.netgazer.net.au/Oldemadow2.htmlhttp://pandora.nla.gov.au/nph-wb/19990731130000/http://theanimist.netgazer.net.au/Oldemadow2.htmlhttp://pandora.nla.gov.au/nph-wb/19990731130000/http://theanimist.netgazer.net.au/Oldemadow2.htmlhttp://pandora.nla.gov.au/nph-wb/19990731130000/http://theanimist.netgazer.net.au/Oldemadow2.htmlhttp://pandora.nla.gov.au/nph-wb/19990731130000/http://theanimist.netgazer.net.au/pg000037.htmlhttp://pandora.nla.gov.au/nph-wb/19990731130000/http://theanimist.netgazer.net.au/pg000037.htmlhttp://pandora.nla.gov.au/nph-wb/19990731130000/http://theanimist.netgazer.net.au/Oldemadow2.htmlhttp://pandora.nla.gov.au/nph-wb/19990731130000/http://theanimist.netgazer.net.au/Oldemadow2.htmlhttp://pandora.nla.gov.au/nph-wb/19990731130000/http://theanimist.netgazer.net.au/Oldemadow2.htmlhttp://pandora.nla.gov.au/nph-wb/19990731130000/http://theanimist.netgazer.net.au/Oldemadow2.html


18/21

oard of Education, it of Ne$ *or+

http:%%users.erols.co!%s&feld%n#c%intro.ht!http:%%users.erols.co!%s&feld%n#c%director.ht!

This website for high school students is associated with the 'oard ofEducation( )it# of New *ork and has been online since 2+++.

Arti FA 21

;sin! Renaissance achievements as a plat$orm and present $oundation- students will pose ke) in*uir)*uestions that will prompt their vision o$ art in our lives within the net hundreds )ears.&his proect is desi!ned to predict how art will in$luence our lives in the net hundred )ears. &hrou!hprobin! past inspirations and methods students can use available data to make reasonable predictions$or the $uture.

,) eaminin! our rich art le!ac) students will have a )ardstick b) which to measure $uture trends.In order to make more accurate predictions- students posed the $ollowin! *uestion to $ocus their in*uir)


19/21

ackson ,ollock used to point out that he( hi!self( was nature.

.ackson ,ollock3s dripped paintings which were inspired in part b# the Na"a&o /ndian

sand paintings. These sand paintings were created b# sha!an who poured colored sand

into the shape of figures. 4ater the wind blew the sand awa#.

5.,ainting in this centur# has !erel# reflected the break with nature that the ci"ili6ation aa whole has experienced.

7.8ince this is where the future and ci"ili6ation are leading us( it is onl# natural thatpainting and other arts would also !o"e in that direction and be in the "anguard.

9.Architecture needs to be created that pro"ides transitional areas fro! inside to outside

and which does not set the building and the inside en"iron!ent co!pletel# separate and

apart fro! the outside en"iron!ent of the world. 0or exa!ple( buildings should ha"e so!ebalconies( roof top gardens( and other points that open to the outside.

.'ecause technolog# has changed( the roles of !en and wo!en are different. o!en an

!en will be full e$uals. There need to be stories and !#ths of the heroic that appl# to both!en and wo!en.

1+./t is clear that the Earth and hu!ankind will go through !a&or changes in the nextcentur#.



20/21

The Annihilation ountain -A .ournal of ulture on the Edge///

Issue 01

rom the $e!site'?@T8 A'>?T TE 0?T?=E >0 A=T /N TE 21st )ENT?=* - =e"ision 2.+http:%%www.disobe#.co!%detergent%6ines%annihilationfountain%19%taf+9.tx

Doble- Rick Thoughts $bout the Future of $rt in the !"st %entury 3a!e +0
http://www.disobey.com/detergent/zines/annihilation_fountain/1998/taf08.txthttp://www.disobey.com/detergent/zines/annihilation_fountain/1998/taf08.txt


21/21

ane" !iscussion in 2*' The Future of Artat +an ,ose +tate -ni.ersity/ +an ,ose/ Ca"ifornia

In a wide ran!in! panel discussion about the >uture o$ Art in +004at ?an @ose ?tate ;niversit)- ?an @ose- Cali$ornia-

Dr. &homas Ledd)- 3ro$essor o$ 3hilosoph) at ?an @ose ?tate

concluded with his comments *uotin! these thou!hts $romm) essa) Thoughts $bout the Future of $rt in the !"st %entury

:ne natural wa) to approach the *uestion o$ the $uture o$ art is to think about the lon!8ran!e evolution o$ art- and this relates o$ course to the evolution o$ mankind. &his relatesnecessaril) to our current move awa) $rom tribal li$e o$ small8scale societies to atechnolo!icall) oriented li$e. llen Dissana)ake- an ethnolo!ist- understandscontemporar) postmodern art as part o$ the problem.

A possible answer is to move closer to the tribal.

&his is the approach taken b) http177www.rickdoble.net7writin!s7arthink.htmT&'&T*$+'T T FT# 'F $T - T !"st %#T/ 0 evision !.1 3aintin! hasremoved itsel$ $rom nature $or the same reason that the societ) itsel$ has removed itsel$$rom nature.

:ne wa) to look at the $uture is in terms o$ all the !ood thin!s technolo!) is !ivin! us.3eople live much lon!er etc. I suppose the $uture o$ art depends on how one $eels aboutthe $uture o$ humanit). Doble mentions the more unpleasant prospects as well.

Documents

THOUGHTS ABOUT THE FUTURE OF ART