Human-initiated dopamine and serotonin sources are replaceable with the analytic-driven, programmable responses that result in comparable chemical releases. Our supposition is that these means-to-an-end are qualitatively equivalent and have resulted in an unprecedented volume of visible, recorded, publicly mediated interiority. We consider digital mechanisms, algorithms and HTML 5 code, as an excellent evolution in postmodern methods of image appropriation, construction, and dissemination.
We suggest that originality in painting is unoriginal because its images are:
We propose that:
To aggressively challenge unproductive and selfish visions of individualism and creativity, we propose to:
The world is filled to suffocating. Man has placed his token on every stone. Every word, every image, is leased and mortgaged. We know that a picture is but a space in which a variety of images, none of them original, blend and clash. A picture is a tissue of quotations drawn from the innumerable centers of culture. Similar to those eternal copyists Bouvard and Pécuchet, we indicate the profound ridiculousness that is precisely the truth of painting. We can only imitate a gesture that is always interior, never original. Succeeding the painter, the plagiarist no longer bears within him passions, humors, feelings, impressions, but rather this immense encyclopedia from which he draws. The viewer is the tablet on which all the quotations that make up a painting are inscribed without any of them being lost. A painting’s meaning lies not in its origin, but in its destination. The birth of the viewer must be at the cost of the painter. - Sherrie Levine (1981)