HOW LONG WILL IT TAKE BEFORE ALL ARTISTS HAVE THEIR OWN TELEVISION CHANNELS?

This question was asked by Stoffel Debuysere. It could be argued that every web page developed and maintained by individuals is in fact operating within a broadcast model. The screen real estate may be different, and the time and place of broadcast may be 24/7, but the reality is that we now live in what could best be described as a world of webs, semantic clouds and visual and aural clusters.

This ecology or imagescape is multi-layered and lends itself to an endlessly proliferating messagesphere that is infinite. I would suggest that self-broadcasting (which is at the heart of the brilliance of Facebook) now determines the ways in which we recognize ourselves in the world. I am not suggesting that the material world which we inhabit and recreate on a daily basis has ceased to exist. Rather, the material world has increasingly developed into mixed messages, which in combination with human action and interaction means that words, for example, can be taken more literally than ever before (the rise of religious fundamentalism) in parallel with an increasingly powerful and rational scientific model (that is at the heart of the engineering behind the Internet). Religion and science now co-exist in an uncomfortable relationship that is strained and for the most part in conflict.

To self-broadcast means to communicate with the unknown, since for the most part readers of web pages and facebook sites are anonymous. You may have 600 friends on Facebook, but you can't know when they are viewing your pages unless they leave you a message. For the most part, broadcasting in this way is asynchronous.

It is of course the same thing with books which exist in an asynchronous relationship with readers.

How long will it take before all artists have their own television channels? Well, they always have been broadcasting whether it was through the gallery system or via picture books or in large museums. The notion of self-broadcasting is as old as most of the systems of communications that we have created over many thousands of years of creative activity within messagespheres and this includes cave paintings. See connecting article

 

The Art of Creativity

Let’s assume for a moment that everyone is capable of being creative. This is a fair assumption based on an egalitarian model of human development. To varying degrees, people respond to complex situations in very creative ways. But is this enough to make the suggestion that everyone can translate creativity into expressive forms with the power and import of art?

For example, art schools are hotbeds of creative engagement and, wherever they are available, their community based creative courses attract a wide variety of the populace. Most people I speak to have a deep attraction to art and to artists. Many individuals harbor a secret desire to become artists. The same is true of the attraction to writing. One thing that is often forgotten in discussions of the period of history we live in is that the proliferation of web sites and blogs is perhaps one of the best indicators of the universal desire to create and communicate. This desire crosses national boundaries, class differences and religions.

The questions that flow from this seemingly superficial assumption about the universal desire to be creative are many, but among the most important is what do we mean by creativity?

First and foremost, creative engagement means producing something new and, most importantly, engaging with the world through less linear and unpredictable means than the constraints of everyday life often allow. The ephemeral nature of discovery combined with excitement of working with ideas and materials, encourages fluidity of thought and an almost child-like excitement about simple acts like shaping paper into a sculpture or creating movement from drawings that are still.

Artists are compelled to create. Their lives are burdened by the fact that there are rarely any alternatives to the depth of desire that they feel — the physical and mental need to explore their chosen craft or medium. Most writers cannot pass a day without engaging with words and sentences. Yet, not everyone is a writer or artist.

So, although everyone is capable of being creative, very few exercise their talent to the point of making creative engagement the centre of their lives. This is because the translation of creative desire into forms or materials requires a further step beyond the spontaneous production of artifacts. The secondary act of speculative and critical thinking that needs to be applied to creative production requires a profound understanding not only of history, but also of our place in history.

Painters come to an intimate understanding of the materials they use in the context of the history of art. The intellectual work that is necessary here far exceeds popular notions of spontaneous inspiration. Take a hard look at the many letters which Vincent Van Gogh wrote, and you see a man devoted not only to explaining his art but also to communicating his intentions. Alternately, take a look at the many letters that Samuel Beckett wrote, and you become a witness to his intense and sometimes violent need to communicate his views of the world.

In all of this, art is produced through action and reflection, through interchange and community. Practice, repetition and rigour transform working with materials, ideas and media into complex acts of communication.

Creativity is therefore about more than what we do or how we think. It is about the application of knowledge to the production of artifacts, ideas and even moments in time. Everyone can be creative, but not everyone wants to spend the time and energy engaging with the demands that creative production requires.