The following is the first publication of data from Michael Haight’s year-long online residency with Fortune Cookies.

Haight will release writing in serialized succession, creating a wikipedian repository of sorts finally culminating in a book at the end of the year.






Idea of the Future Generated through an Art-Based Utopia.

Statement:

True, there is not enough time in order to decide whether any possible numbers of futures are the correct slide into a fortuity we, surmising all who encompass this planet, feel to be decreed more sufficient than objective man made design. How ever big the flaws of our nature one can see who looks lightly while observing weightily. If you are that person then you will see how to communicate hitherto all of the observance located in the following textual atmosphere. The following is the formation of motion, an idea, not yet to be staged—not until said motion flows as wholly granted. In other words, the following is fiction before being granted movement as fact. This will be acquired when understood as such.

Purpose:

Art can and/or cannot be misconstrued as anything other than the being that creates its self from the apotheosis of creation. Art can and/or cannot move onward over and over the definitions begat of itself in sublime or cynical perpetuity without sending viewers shouting, "Please stop considering this before you give yourself psychosis!" No, really, why should anyone care about the true definition of the art experience? What will sound appalling to some may sound fantastic to others: know no nomenclature, know uninhibited experiential power. However this seeming conundrum breaches your blood-brain barrier, understand you will hold an understanding, and an observance, of its potential through the length of this project.

A second consideration to understand:

As deep as art moves for some and as thick as art stands for others, this process as thing as possibility as pretense fails to enliven some people. One may argue that those who fail to understand the act of appreciating art and see the importance of visiting museums only do so because their art lies outside the museums' starched walls. These non-patrons suffer from Stendhal Syndrome through other avenues that lie far from the linguistic hurdles and catapults of art history. These groups are able to understand how to deeply absorb and enthuse and emphasize without the signifier that is the albino device telling them to observe, and how to observe and especially what. They may not think about art everyday; they may not pace along museum walls but they listen, they observe and they receive all the same benefits a regular art viewer may receive from their observant experiences within any sort of gallery setting. No matter the activity, their experience is there. Now: know art's powers/laws apply elsewhere.


Outline:

I — Date of conception from which initial idea sprouted such a society of ingenuous exhibited indifference towards one another's shared goal.

II —Its initial spread world-wide. Eventual media acceptance. Fear of perpetual ritualistic suicide until consciously able to see through such artistic guise borderline self-destructive license.

III — Approaching plateau of acceptance. Semi-sinusodial symmetry growing visible along Earth's surface. Helio-centripetal frequencies develop as a fractured phosphorescence sheen along the lines of the magnetosphere. Positive irregularities form within genetic spheres.

IV — Denotation of eventual universal society. Earth-scale communication transient, instantaneous and quasi-universal. Quantum movement evidenced in swaths of advanced circles, forming more and more evident within socio-structural spheres.

V — Influence system wide grows beyond inner sphere of consciousness. Trial unification grows more and more evident on Earth.

VI — Homeostasis mastered in less than 700,000 cyclically developed spirals of de-natured death-births in unison.

VII — Possible conclusions for parsing post-galactic growth. Swallow of other civilizations. Rapid systematic evolutionary growth forced upon divergent exo-stellar cultural masses. Death. Partially realized fatigue. Intensive Thoreau-centric Harmony. De-sufficed Harmonization.

VIII — Injunctions of/caused/bypass/with/created universes. State of origin. Pax or Hell-Anon? State of world.

IX — Beatified patterns. Defensive, pretensive situations. Contextual and/or semantic variations, frameworks.

X — Can Art be really to blame for this imagined, potentially constructive scheme?


Dec 13th 2013

On Nov 26th at 1:13 am I submitted a proposal to EMMEDIA, an art website based in Canada, which outlined a paper I planned to write on the future of art. On December 8th, 2013 at 10:10am I received an email notifying me that my proposal was accepted. I have until January 8th, 2014 to complete the piece of writing. While at first an idea for a small article, this project has expanded to fill a space of the internet over the course of a year. The majority of this site will cater to said writing project, which is titled: Idea of the Future Generated through an Art-Based Utopia.

I aim to address each piece of the outline I submitted in some shape or form. While I aim to achieve this solely through writing, I may need to include simple sketches of illustrations to supplement this project's words.

When it comes to the subject of utopias, most have developed concentration in narrative forms with a majority focused on the exact opposite: a dystopia.

So often a utopia begins with optimistic productivity in mind only to degrade into mind controlling dictatorial dystopian manslaughter.

You already understand that for this "art" utopia to work, on the scale you envision it working, there will need to be broad swipes of the pen. This necessitates broad messages because often it is sudden change that encourages a shift of the population's consciousness. Furthermore, because of the typical risk-averse personality trait, inherent in us all, there will be assumed, unless otherwise noted, an acceptance and understanding of the criteria necessary to put this utopian engine into motion.

Unit I: Section I

Date of conception from which initial idea sprouts such a society of ingenuously exhibited indifference towards one another's shared goal.

At one point after the over saturation of social media, and the acceptance of selfies and faux-vintage photo filters, #1stWorldSociety—those beyond affected by technology—reaches a tipping point. While within the art world, the over saturation of MFAs leads to a stubborn and passive-aggressive rebellion of those attempting to be seen and heard without the unmitigated debt of higher education. Said rebellion comes in the form of a flood. Not a flood wherein two animals of each sex and species is needed for a ride atop a carnival cruise, but a flood of artwork, visual and conceptual information, that will bubble up from every corner of the art world's subcultures and underbellies. These dreggy sites include deviantart, etsy, flickr, tumblr, and others.

This over-saturation, this #Tippingpoint, is ignored as a strained public outburst by the arbiters of taste. It is ignored by those who speak the platitudes of multi-million dollar auction sales and beckon to the wind in the same manner as one may piss into it. They ignore because of risk aversion. They ignore because acceptance of that which is not informed by tradition says nothing to their sensibilities. To be the person, or persons, who dictate the ideal is to sit at a high place in any society. This art world does not allow for a solitary emperor or empress, king or queen, rather, a congress set a top a market place. The rebellion of the anti-MFA, and the inevitable rebellion of the over-MFA'd, is seen by the arbiters as a way out of the arbiters' market. And by leaving said market all art produced through this rebellion hitherto automatically excludes itself from said market.

So with exclusion from one market, this out growth simply forms its own. The internet, so much like the marketplaces of every year and society of past histories, becomes the seed bed for this future utopia—with these new market places of neo-arbited design, craft and art come forums and comment boxes wherein customers exchange dialogues and diatribes freely with the artists, artisans, craftspeople and designers. While no where near the same pretense of concept and vocabulary of those so required to regurgitate the art historical terms of the past, these new discussions take on a life of their own and are free of the dictated form of tradition-conditioned and over emphasized art discourse. A simple question arises: what begets the initial transition from "appreciator" to "artist"? Here we find evidence in an anecdote from a forum on one of the dreggy sites:

"I saw the sunrise the other day because I woke up early for some reason. I was still in bed and I watched the light coming in through my windows, hitting the three framed illustrations I purchased from an artist on this site. The images were of the sunrise, noontime and sunset. As I lay there focusing in and out on the sunlight's play of shadows, I saw for the first time what the artist meant by drawing and painting those pictures. I saw what the artist meant by using the sun as inspiration for art form. I saw what the artist meant by using light as the idea for her paintbrush. And as I saw what all this meant outside of itself, I grabbed my phone, and opened my camera app in time to take an image of what I was seeing. Funny thing, too: after I took the picture I saw I shouldn't use a filter. While at the same time I realized that what I saw and felt only was in my moment—no one else's— but, still, that art of the sun with the sunrise all across it tells me that there is something about these things we create, art works, that end up creating more art works. To be honest, I've never thought of my self as an artistic person, not an Artist, just an art lover/appreciator. And now, because of this moment with these paintings of the stages of the sun covered in the light of the sun through my window, I feel I have understood something that never cold have been explained in an art class or by an instructional manual in a paint set. I feel now that life is different. I truly feel it now."


And this, this anecdotal evidence of the catharsis of an "appreciator" to the stage of an "artist" develops into the seedling discussion, without saying so in the most literal of terms, those who become part of this forum discussion begin a treatise superseded by the understanding of what it is to live life as art not artifice.

This idea, although not necessarily new in the institutionalized Art World, begins to bubble and foam along the interconnected forums of the new marketplace in a fashion similar to the primordial ooze of pre-life on Earth's ancient surface. If one of the arbiters of taste were to have seen any of this nascent discussion it would be dismissed immediately as old news—and an idea only to be understood as fine artists themselves. However, this idea, mentioned in the anecdote above, blooms and is further encouraged through online discussion, as this marketplace remains solely online where it is the most viable and internationally connected. Examples of life as art begin to pop up with new slants on the old idea. It grows into a #meme of sorts—meme in a most serious and whole-hearted form.

For instance, one of the first users/New Form Artists—as they will be called—to place an example on a forum for all to see brings forth an image as such:

"There is at least a need to really live in need of art. I started to kind of find myself hungry for art. Not in the way that I need to look at it but in a way I wanted to be it.

Some of you might think I put paint all over myself or began wearing bright clothes but instead I've started to live as me but me the art form, my life the art form. And I see me, and even you, only in the way that you are an artwork. And like I don't even see you and I as forms. Like art form isn't even the right term because form is a form like a boring piece of government paper, you know. Now to me even the word art form suggests a corporate cubicle because to say something is an art form means that's all it can be. It can't change or shift or what have you. But I know that I can do that shift and you can have change and all our lives always can be able to do that. And I think living our lives like this means we're able to #keepgrowing. It's more than just how I act in a moment or how I sit or my eyes' movement and focus.

I want to say it's even deeper, probably beyond how we think."


The image supplied with this post is of a white walled apartment, not unlike the starch of the gallery, a bedroom and a person seated in front of the computer suggesting the image was taken with a webcam. There is light of course (a symbol for the New Form Artists' discussion) and this light is spilling from the window on the side of the room and along the face of this individual. She or he—I might add the androgyny is at once reclusive and prevalent, shines in this half-light as intensely smooth, beautiful in a way that captivates, surprisingly to say the least, enlightening in the most stalwart of forms. The eyes smile more so than the well formed mouth on the face. The cheekbones are high. There are light and dark shadowed eyes, at once unsure if by make up. The nostrils are slightly wider than the bridge of the nose. The brows are simply the forehead's highlight and the hair is dark, possibly short, possibly long and pulled back. This user's ethnicity, pleasantly unknown, allows one to find every possible sex, gender, and race in any specific and general focus along each and every part of the user's face. Looking and enjoying this image one notices that all that is the background fades to say the foreground is the most evident piece of this life the user speaks of in the post.

There is a draw to this image. People speak and they post. Although viral is not yet the word to use for the spread of who this person is as it follows a more organic route. This idea influences others and sadly the first oncoming attempts to induce this fashion are failures similar in the sense to those attempting to break the walls of the Traditional art world in order to gain acceptance. Failure, however, is not a fall back, and not something to falter. Those who fail to mimic, instead of giving up, continue on their course. A sort of clothing fashion emerges. And eventually this person, this user of an art forum, begins to emerge as well. A new sort of hero becomes unintentionally born.