Mohammad Salemy produces a manifesto for the deepening machine age. “What makes this experiment necessary is the severity of the cultural crisis in which art stubbornly refuses to find itself.”
‘Manifesto’ is a UF categorization, that responds to the text’s dominant imperative tone, as exemplified by: “Art needs to be removed from its contemporary ivory tower to deal with the implications of its appearance, but unlike twentieth-century modernisms, today art cannot afford to be solely about the limitations of its supporting material, or only conceived in relation to its own history and ontology.”
Much, too, though for awkward contemplative nihilists:
Art, whether artists agree or not, is the void of meaning folded in cognitive wrapping paper, visible only as the surface of cognition and as the materialization of both the historical and semantic emptiness which it carries. It is a series of verifiable claims inserted into the real world and reified to take up the empty space of meaning, a void occupying another void.