METARENESSANCE IS A HUMANITARIAN PROJECTION OF REALITY.
The Metarenaissance is the philosophy of an awakened society.
It is an active, creative and anti-conformist stance.
It is a rethinking of previous experiences for the sake of posing new productive tasks.
A Metarenaissance can answer where we are going, what kind of society we can build, and what role is assigned to art.
The Metarenaissance is a request, or even a challenge, for all creative society to fantasize about an ideal world. It is a call to think together about our common future, how we want it to be tomorrow.
We are used to being able to design different technological solutions. But it is also possible to project an emotional climate and a system of values and meanings. In this process, art takes on a new meaning, it inspires and creates visual images and allegories,
In this process, art takes on a new meaning, it inspires and creates visual images and allegories that contribute to a favorable psychological atmosphere and a new image of humanity. It is building, brick by brick, a new imaginary world that is becoming more real every day. This is a very complex, multidimensional and multifaceted process, and while it may be misunderstood and even bewildered now, in the future it will be one of the most important and fundamental. The main problem is that we are not used to thinking this way, our consciousness is more reflexive than creative, and in this connection we have absolutely no imagination on this topic, and at best there is only a meager set of patterns. There is, however, a certain percentage of people who are able to draw not on an existing given, and not on a negative experience, but on an abstract idea of how things might be. And this process is not based on struggle or opposition; it is the free creation of the imaginary.
Imagine how you can with love and attention, thinking through and prescribing all the subtleties and details, construct a future in which you would like to live, a future for yourself and your children, a future for all. The Golden Age, the crown of civilization, all the best, to gather into a single picture, into the concept of a perfect society. As long as we don’t think it up, don’t picture it, it won’t happen, but as soon as this sketch takes clear shape, as soon as this collective project is conceived, drawn with hyper-realistic precision, we can consider it has already happened. It will be so convincing and disposing, beautiful, wise, profound, and perfect, that everyone will believe and want nothing else but it. But it is a collective, parallel, polyphonic work, hundreds of thousands, millions of people. All that matters is to give direction and enthuse them. To make the first step, to start a chain reaction, to activate the imagination. We, each of us, are responsible for what happens, for our present and our future. We create reality, by our thinking, attitude, words, actions, faith, intention, attention, awareness. It’s not just and not so much about each individual’s life as it is about our common world. When we are preoccupied only with our own lives, we cannot change the world, we adjust to it, to the world order that exists, which is imperfect and, by and large, does not suit anyone. By adjusting, we reinforce and continue it, carry it forward, let it remain unchanged. When we all begin to think of a common ideal world, what it should be in the common interest, it changes as we see it.
Why the Metarenaissance? Because it is the rebirth, piece by piece, of something that has never yet been in its final form. A defragmentation of an image, a dream that was always present, but, for various reasons, could never or even hoped to become a reality. Now, in our information age, it is finally possible. To assemble all the fragments, to make connections between them, to supplement the missing elements. Time and distance have become conditional. People have become interconnected as neurons of a single planetary brain. In the information field similar things are instantly attracted to similar things. Data are capable of spreading instantly and everywhere. We are on the threshold of the birth of a new unified race – Earthlings, and a new species – e.g., Homo Creatrix. Humanity has become a single thinking organism. In this situation, new, limitless possibilities open up. Art takes on a different meaning in this context. It becomes a tool for constructing, for visualizing the processes to come. It becomes a creative laboratory for the holographic images of the future, its fine-tuning, and the visual benchmarks of a new high ethics. It illustrates and foreshadows tomorrow. It prepares and tunes for it, creates the right emotional environment. It generates ideas, images, scenarios, goals and dreams that may be only one step away from reality.
This is already a different art. It has other goals, other motivations, other media, perhaps a different language and system of images. But it has one cross-cutting theme: creation, reunification, and harmonization. Thus art becomes an important informational and visual material for the creation of a renewed world, its sketch and its prelude.
It is bad when the hands don’t keep up with the head, but it is worse when the head doesn’t keep up with the hands. Mankind is fascinated by technical progress, by the creation of artificial intelligence. We are rapidly moving in that direction. But it is all a tool, a resource in the hands of man. How intelligent are we to make proper use of this resource, or will it only multiply the existing problems by ending up in the hands of savages? The problem lies not in the man himself, but in the distorted picture of mass consciousness, in the system of relations and dominant values. Art can act as a communicative agent, a social regulator, a socially significant formation of creative solutions and the setting of ethical guidelines. It can assume a responsible function, become a legalized apparatus of thinking, a creative department of the collective mind, working not for personal interests but for the good of humanity. And this is not a question of altruism or self-sacrifice, but only the setting of certain creative tasks and goals, understandable and close to all and everyone.
There have been many attempts in history to create a local “ideal” world, but these experiments were isolated, they were in opposition to the larger world, and this was their main problem. The Metarenaissance is an example of a mass, transnational, global phenomenon that has no location, but is a principle of positive, creative thinking, as well as a new direction in art, which, in turn, is able to spread and popularize this principle.
A new ethic of identity.
What we call new is not something that has never been pronounced, but something that is not present in our lives, something that is no longer a theory but a program for action.
A new ethic is in the discovery of commonality. Its essence is to see not the differences, but the similarities. We can turn everything into joy and pleasure, find common themes and interests. We can rejoice in the common and the commonalities. And we can keep our individuality, because it is dear and valuable only to us. Our individuality, first of all, is interesting and necessary for us. It is our personal experience, and it makes no sense to impose it on anyone. No one pretends to someone else’s point of view, and no one will appreciate it as much as its owner. This is ours, and if it doesn’t bring joy even to ourselves, then it’s something completely unnecessary and we should look for something else. As a rule, when proving our rightness to others, we are trying to prove it first of all to ourselves, because we ourselves have doubts. But it also happens that it becomes interesting to others when it expands them. And it is their own free choice, without compulsion.
You can see that people are mostly opposed to one another. They are capable of uniting not for the sake of unity, but against something. Take the common example of the confrontation between conservatives and innovators. Their uniting on a common ground is a countermeasure. In fact, in every community, on different planes, there are plenty of disagreements, sometimes more fundamental than the single unifying factor. Any consolidation, at the national level, at the state level, in sports, in politics, etc., takes place in the face of external confrontation. But if the two antagonists were to seek common ground and unifying themes, then the confrontation would lose its meaning, it would dissolve. All boundaries are formal, conditional and invented. There is much more that we have in common and that we generalize than that we dissociate. Differences always lead to discord, to argument, to division, to a struggle for rightness, for primacy. Commonality is always reconciling, bringing the joy of unity. It can always be found even in the most dissimilar things, and it becomes a point of contact, a connecting link. Commonality must always take precedence over difference.
Negative experiences and a lack of positive ideas.
Our world is much more civilized now. Human rights have been declared, the concepts of ethics and humanity are on everyone’s lips. They are legalized and strong. Any deviation gets condemned by the public. Anything anti-human has to act secretly and not legally. But there are weaknesses. We cannot believe that humanism can become total. We accept that ideas are utopian and failed, and the rules assume a host of exceptions. How many bright ideas have been devalued, speculated on, degenerated, mutated into monsters. The history of mankind, it is all wars. We have so many negative experiences and so few positive ones. We know what hell can be like, but we know nothing about heaven. Everyone can only imagine what his or her imagination can imagine. We have a total lack of positive ideas. We have to try to see if “paradise” is possible, and if it is not as boring, vulgar, and luscious as many people fear. We can fantasize ourselves what it could be, and invent it together, together. The creation of positive visual content can have a noticeable impact on the psychological environment, the emotional climate and the process of shaping new thinking In this regard, the role of art and the single artist takes on great importance.
The new fashion.
To be a little naïve, open, pure is somehow not fashionable now. Skepticism, different masks, armor, invulnerability are in vogue. But fashions change quickly, and there is something that never changes. The essence of man’s nature, his true underlying needs, not of a social but of a purely personal nature. Here we come to common, global and unifying themes. But let’s fantasize, what if we fashion something radically different: sincerity, generosity of soul, humanity, philanthropy, good naturedness. These are all qualities of great and strong people, harmonious, open, living their own lives, according to their own rules, confident in themselves, not afraid of anything. These are the qualities of masters of their own lives, who can afford a kind gesture, who can be relaxed and humane . Isn’t this a beautiful image to want to strive for. To even if not to be so, then at least to appear). Let it be in playful form, let it be fake. Gradually it will become a habit, it will become a sign of good manners, it will become a norm for everyone. At the initial level, it may be an object of competition to see who is more generous, more merciful, who has done more good deeds. Couldn’t this become, if not the essence, at least the style of the new century?
The Role of Metarenaissance Art.
We all live in a single space of society, and we are tearing it apart. We do not have an understanding of a common world that is both for all and for everyone, and it should not be divided, it should be enjoyed by all together. And such values must be inculcated from childhood, in schools, and we must speak about them and show examples everywhere. The formation of urban public space, based on these principles, is the first step of a clear demonstration of the new philosophy of life. The urban environment with the artworks changes its quality and attitude towards it. Its image and purpose change. From a rational, functional space it becomes a cultural, supportive environment that encourages inner development. We go outside not just to go to the store or to the subway, but to have an aesthetic and emotional experience, perhaps deeper and stronger than the one we can get in our apartments.
Art is a language, a means of communication, a medium. A work of art is the author’s expression. Any statement presupposes an audience, and a motivating purpose. The question of motivation arises here, why the author needs it. Very often, looking at a work of art, it is difficult to answer this question. But in humanistic art everything is much simpler. The author is in a state of enlightenment and is happy to share it. He has a keen desire to communicate his state to others; it becomes his social contribution, an act of offering. The more such precedents there are, the more insight fixations will appear in the social environment, the more welcoming, comfortable and useful the emotional climate of our cities will become.
To perceive art as a mirror of life, much less as a sphere of services and entertainment, is too passive an approach. The main, revolutionary task of the MeteRenaissance is to change the role of art from that of decoration or reflection to that of purposefulness. It is time to designate the active role of art as avant-garde, ideologist, futurist, harbinger of tomorrow. Because art is capable of changing the world, with its initiatives, its ideas, its images, its example. It can and must go in the vanguard of society to inspire, to break down walls, to open doors, to pave the way, to mark reference points, to set crazy daring goals, to teach others by their example, to be alive, free, enthusiastic, dreamy and fearless. And at the same time, like a gyroscope of eternal values, it maintains adequacy and stability when society experiences turbulence or gives a dangerous lurch.
The Metarenaissance is art for man. Its essence is a positive message directed toward the “human” in man. Never before in the history of art has there been a programmatic attitude – art for man, art for the soul, art for the good of man. Art for man is universal, without regard to his position and status. And the fact that it was occasionally so, was not a systemic, but a by-product of quite other tasks. For centuries art served the authorities, the elite, the church, art was a decoration of life, an attribute of exclusivity. In the twentieth century a new tendency emerged, art became self-isolated and for the sake of itself. With the emergence of the art market it began to look more and more like a product of marketing techniques. The most democratic and popular trend in art – Pop Art – is a visual statement and elevation to a cult, all that superficial and meaningless tinsel, which is so much in everyday life, not bringing anything human into it, but on the contrary even more distant from it.Conceptual art, contemporary art, academic art, etc. All these multiple formats define the context, methodology, and form of presentation, but they do not define the message of the work itself. At the moment, as never before, there is no definition of art that is contemporary in form or humanistic in content. Humanistic art appeals to the basic human being, to that universal core that is the unifying factor for all people and all life. It is the way to the self, and the way to an understanding of the unity of the world. Despite outward diversity, at the deepest level, in essence, all people are similar. Under the masks of different roles, under the web of worries and problems, under the oppression of trauma or ambition is a person with a universal set of values. In each person, no matter who he or she is, a child continues to live. Everyone wants love, solace, support, inner balance, freedom, security, passion, respect, and meaning to their own existence. And everyone tries to find this, by virtue of their understanding, by different means. All pathologies are the result of despair. Any psychologist will confirm that the nature of all phobias and manias, cruelty, skepticism, closeness, depressions is in the trauma of the whole being, in the lack of love and understanding, in loneliness, fear, disappointment, negative and painful life experiences. In the end, it turns out that the contradictory diversity of behavioral patterns and psychotypes is the result of unique combinations of traumatic factors. All people, subconsciously, want to be healthy and happy, to return to the original universal unified state of their own wholeness and harmony. To be free, open, to be the author of your own life. Not everyone can afford it even in thoughts, but those who can do it do not always understand how to achieve it. It is these questions of inner productive work that are the main theme of humanistic art. It is the external visual impulses that orient and coordinate the inner processes of human self-development.
Humanism is love for people. It is a very high level of spiritual development, which is difficult to acquire and even more difficult to maintain. The creative act, the state of creative trance, can temporarily change a person, bringing him to a higher qualitative level of humanity. In this state of inspiration, he is spiritualized, elated. All the best is revealed in him. The work fixes and subsequently transmits this state. That is, the artist doesn’t even have to be a humanist in everyday life, but it’s important to experience this rush at the moment of creation. He doesn’t even have to love all people, just feel this feeling for someone, and dedicate his work to this feeling or this person. Then the work itself will preserve and transmit this feeling to every viewer for centuries to come.
Isn’t it amazing that Renaissance art, five centuries later, still fascinates our imagination, touches us to the core. It was the emotional lift, the excitement, the beauty. What prevents us from recreating these sentiments now, not to reconstruct, but to experience them again, in a new form and a new quality. The Renaissance epoch was based on religious and mythological subjects. Now there is a new religion, a new mythology. It absorbed all past and new experiences. It no longer represents a transcendental, but a synergetic approach. A particular religion, from a dogmatic doctrine, has become the material of a unified fractal system of ethical values. The form of presentation, the associative-imaginative apparatus of perception, psychology, aesthetics, and the informational field have changed. All this suggests that the new renaissance, while preserving the vector of aspiration, will be fundamentally different both in form and content. In this regard, the prefix “Meta” in the term “Metarenessence” means the non-linear, multidimensional, compounded nature of the phenomenon. The Metarenaissance is the rebirth of the spirit, of that great human essence that sleeps in each of us.The Metarenaissance is a new outburst of admiration for the divine beauty of the world and man in it. The external world and the inner world.
A new renaissance cannot fully emerge in the closed environment of the artistic world, it requires the support and interest of society. People need to understand that new cultural values and attractions are not the perpetuation of past achievements. It is the creation of new works, new artistic images, it is new achievements. Supporting artists is not a social task, but a pragmatic approach to the use of existing creative resources, to the development of their potential. It is the case when it is not possible to postpone the question to the future because the artists who are living now will live their lives without being realized, they simply will not do what they could do, they will not open up in all their strength. Only through support and demand, for example, did Florence or Venice become what we know them to be today. Artists alone, if they wanted to, would have done nothing. The percentage of geniuses in all centuries was about the same, but what matters are also the conditions for talent to unfold fully. These conditions are requests from society, from the state, from various organizations, and the fashion for art and culture. And on this fertile ground worthy sprouts will appear at once.
Art of the Metarenaissance, what is it like?
It is art that expands the soul, opens up horizons, gives reference points for inner aspirations and development, teaches to see and appreciate the beautiful, develops sensuality, imagination, shows depth, complexity in the simple, and simplicity in the complex. This language of metaphors, allegories, images. A work of art is like a book, the longer we look, the more new things we discover, time goes by, something changes in us, and we reread it again, looking at it with different eyes, and finding something new again. It brings us back into a harmonious state of contemplation, reflection, subtle inner feelings. And it is always about something bright. Light can be different: bright, muted, directed, diffused, refracted, transparent, intense, flickering, distant or close, internal or external, blinding or smoldering. There can be simply light, the joy of light, or the dream of light, the longing, the remembrance, the longing, the anticipation, etc. But it’s all about the light. When we look at such a work, we see light in it, we think about it and feel it, or it gives birth to that light in us. It adds light to our world and to our lives. It forms a humanistic environment. A visual system of reference points and markers of humanity. And it proves to be very useful and effective, it energizes us, brings us back to something essential, affirms and stabilizes meaningful values in a space of uncertainty. Art of the Metarenaissance differs from Renaissance art, if only because in the twentieth century we have acquired the skills of figurative, abstract and eclectic thinking. We no longer need narrative to convey plot or condition, we no longer need staging, we no longer need a fairway of style. Art becomes a spontaneous burst of insight in a way that is not intentional and completely unpredictable.
The meta-renaissance artist, almost like the icon painter, must prepare himself for the act of creation, bringing himself into a balanced, enlightened state. He must create only when he is unable not to create. He must understand the depth and sacredness of the creative process, feel the mission of bringing the “new” into the world and the responsibility for its quality and content. Everyone can be an artist and, in the end, everyone should be an artist. It is not a profession, it is a natural state of mind. Creativity is not a technique or a craft, it is, first and foremost, an inner creative force.
Variability and immutability.
Now a new generation of young people has grown up. They are different, and they are better than adults again. They are purer and more honest. They are ready for a new life, a new world. Stiffened, tired and disappointed adults, with old models and rules, poisoned and aged by old notions, impose these on the new generation, impeding the natural development and renewal. Now time has accelerated so much that it has become impossible in the course of life not to be renewed and changed many times. Stagnation and not being open to the new, inhibits development and creates artificial cognitive conflicts. We are forced to change, to stay in tune with the rapidly changing time, and the only thing that remains unchanged in us is our deep universal essence, which is succinctly reflected in the word “humanity. It is the constant we seek to discover and identify in ourselves and in others, the area of inquiry that can lead us to unity and understanding. Addressing this theme with the gaze of a scholar or the imagery of a poet, from all angles and with different optics, in order to discern and record its real presence, its undeniable value and usefulness for everyone, is the basic manifesto of the metarenaissance.