Developing the Dynamic Manifesto

I decided to test and experiment with the following Dynamic Manifesto. Due to its characteristics I may change it whenever it suits me. Insights from others may be quoted but taken, molded and interpreted to my own liking. It is highly personal, to encourage myself on a good or a bad day to do the next thing, to create and to reflect and to show people everywhere whatever I experienced, found or came up with, within my ever moving structure in order for them to see/hear/sense/think/feel/do or whatever they feel is appropriate at that instant due to that circumstances.

Acknowledging the state of flux is essential in my art practice.

All things and bodies are always moving, oscillating, on the go… this gives many practice-based research opportunities with meaning in life and the arts.

Motionlessness, a total standstill, or fully inertness, 100% stillness, they are like absolute silence impossible phenomena in our universe. The sound implication is that everything is dynamic in some manner, whatever domain one perceives or comprehends.

The essence of being dynamic is that ‘it’ changes all the time. “Tomorrow everything is different, although it may seem alike” is my saying “but tomorrow I may state that otherwise”.

‘It’ refers to any temporary position or condition one might seem to hold as stable, I repeat that everything and everybody is in motion. One may hold for example a picture, an event or a memory momentarily but it will fade and vanish due to change in real time.

I term ‘existimotion’ as estimated view on being in motion to express and perceive a dynamic way of being, as beings exist and process through their interactive motions. Sometimes it goes too fast to grasp it, sometimes it is surprisingly slow, sometimes it is even in the flow.

Motion has the unique poetic quality to show acting out in many variabilities. This leads often to interaction of some sort, there are few occasions that nothing reacts over time. 

Interaction might reveal a certain intention and agency. Humans give meaning to themselves, their environments, their objects, the electrons they manipulate, their animals, divinities or planet alike.

Opposites are needed to grasp what it is to be in-between. By defining black and white one learns something about grey(ness).

In-between is a state that implies the travelling movement, the state of flux, perceived as a ‘temporal picture of an ongoing film’. The motion may be invisibly fast or immensely slow, but it is there to change.

By the way, a noticeable state of flux gives weather forecasters their daily jobs in news journals.

Artists need to focus more on fascinating fluxes, as increasing and decreasing phenomena show other narratives to be told, away from the status quo.

Video art has the intervening opportunity to express and edit these fluxes, also by changing their durations. Next to that, by subtracting steady states, motions will be revealed in video that may be artistically explored and utilised in many creative ways.

Playing with motion and interaction can be a useful artistic strategy to find novel dynamics of the self in connection with the world. Everything that gets attention and is interacted with, will be changed intentionally or subconsciously, leading towards forthcoming learnings.

I perceive artistic play as the in-between process of the artist and you and others to find something (else) during the experience that might (re)present something meaningful and reveals being in a moving way.

My art making can be understood as creating moments in this sense, my media can be used to distribute different behaviours of the dynamic practice.

Kinetic arts may be framed as old-fashioned and modernist, however it could be seen as an early forerunner of novel dynamic arts, just as the fluxus attitude proves to have new potential for actual art practice developments too.

Interactive installation arts should be valued in my artwork because it reaches for embodied knowing, performative characteristics and the immersive potential. You have to experience it in person, nothing else will do it justice. This is about the collaboration of undergoing, doing and reflecting.

Inter-Artist is my term to highlight the interdisciplinary way of my processual critical practice. I try to bridge several domains to get a better sense of human experiences. Awareness of change is fundamental in those matters.

The transforming work I make is mine to make, nobody else does it that way, I have to do it. Only I will interpret it according to my dynamic being. That is why it is worthwhile.