Saturday, October 22, 2016

{M}anifesto: introduction to {M}

INTRODUCTION TO {M}
a project for making art based on ideas about the mind

{M} is a way of making art based on ideas about the mind and the world. What we experience as the world is a construction by our minds based on limited and distorted inputs from our senses and the limitations of our brains. Nearly all of this construction is done by unconscious parts of our minds, which communicate with our conscious minds using feelings, images and words. The intention of {M} is for its audience to directly experience some of the workings of their minds, partly guided by these ideas.

These works can be uncomfortable, but also can bring wonder, delight, widening of the conscious mind and self-discovery.

The ideas behind {M} are not original, coming from philosophy, cognitive science, other artists, and spirituality.

Works in {M} are intended to be universal, accessible to anyone without special training, previous experience or even being part of a particular culture. For this reason, works that deal with politics, gender, sexism, racism, and other higher level, socially-based themes are not part of {M}. These kinds of work are certainly valuable, but they should be put in their own categories so the definition of {M doesn’t become too dilute.

I did this work for myself, to help me to focus my work, make it easier to explain & stimulate new ideas.  Perhaps there are others who would find this interesting and maybe even helpful so I have published it.

{M} is defined by three fundamental documents:
  • the Enigmas of {M} are fundamental ideas that outline the philosophical, spiritual and psychological ideas from which {M} is derived.
  • the Dogmas of {M} are definitions that determine which works of art can be included in it.
  • the Pragmas of {M} are practical suggestions for making works in {M}.

Other documents of {M} include commentaries on these three fundamental documents, lists of works in {M}, commentaries on these works, and various technical notes.

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