Posted on feb 6, 2015 in Architettura e Urbanistica, Caffé filosofico, Cinema, Eventi, Fotografia, Il Re è nudo, In evidenza, Letteratura, Musica, Pittura e Scultura, Recensioni ragionate, Saggi

Manifesto –  English

For a possible Renaissance



What is it that allows the annual production of commodities to grow, increasing the consumption of natural resources and energy, polluting emissions, green house gas emissions and waste? Technological innovations aimed at increasing productivity. Innovative machinery which over a period of time allows to produce more and more whilst  reducing the incidence of human labour on added cost.


What is it that continues to reduce the time span natural resources spend as commodities before becoming waste? Technological innovations and restyling aimed at rendering products obsolete in order to speed up the process of substitution.


And what makes us continually design technologically and aesthetically innovative products simply to render them obsolete and transform them into waste as quickly as possible? The need to keep demand for commodities high and to absorb the growing supply of commodities due to technological innovation which boosts productivity.


Innovations of production and product make up the physiology of the economic system aimed at increasing the production of commodities.  Without innovations of production, it would be impossible to increase the offer of commodities. Without innovations of the product, the demand for commodities couldn’t increase. Innovations of production and product are depleting the stock of non-renewable resources and have increased the consumption of renewable resources to the point of overtaking their annual regeneration; they are the cause of the greenhouse effect; they are emptying the oceans of many fish species and filling it up with plastic waste the size of a continent; they are  saturated the biosphere with poisonous substances, destroyed in few years the beauty of a landscape which was slowly formed over centuries, it has they have reduced biodiversity and mineralized farmlands, increased hunger all over the world and caused wars in the last century which are ever more atrocious and bloody. Innovations aimed at increasing production and consumerism of commodities are threatening the very survival of mankind.


Since economic systems aimed at increasing commodities need innovations they also need to culturally enhance innovation itself. The corner stone of culture on which the collective imagination is modeled is the identification between the concepts of innovation and improvement. In their cultural paradigm, every innovation is an improvement, without innovation there is no improvement; history is a constant progress towards the best; the steps towards this progress are marked by a series of innovations and its speed is the speed with which the new innovation takes the place of the previous one.


The cultural enhancement of the innovation for its own sake leads us to imagine the future as a casket of endless potential for improvement on which we must concentrate all our attention and think of the past as a warehouse of permanently unusable material needing to be forgotten as quickly as possible,  always looking ahead like a sailor in the crow’s nest of a galleon trying to be the first to see novelties on the horizon, never looking back, because if we linger to look at what was once, we risk losing our place in the race towards the new and we will end up like Orpheus, who turning to see if Eurydice was still following him in the difficult anabasis from the beyond, lost her forever.


In the cultural enhancement of innovation, the arts have been given the task of exploring the farthest boundaries of modernity; namely chasing ceaselessly the new which moves further away on the horizon as step by step one tries to get closer. Because there is always something newer lying in wait: something newer ready to transform the new into old and in its turn waiting to become old as something newer is breathing down its neck. In economic systems aimed at increasing the production of commodities, art in all its forms (painting, sculpture, music, poetry, architecture) has been kicked out of its eternal universal dimension and ended up confined within the ephemeral dimensions. It has been forced to be innovative in order to be contemporary, to release the new from its tight embrace with economic and productive activity which responds to the economic system aimed at growth, to cancel from the collective memory the perception of its destructive role and to take it to that spiritual dimension, not enmeshed in the daily miseries of life, where in the course of history human beings are used to placing artistic events.


To awaken humanity from this spell which is destroying itself, we need to free ourselves from the culture which binds us to the enhancement of innovation; enhancement imposed by the economic and productive systems aimed at the growth of the production of commodities.


Alongside and in tune with those who propose freeing economic and productive activity from the chains of innovation aimed at growth, we propose freeing all artistic expressions from the chains of enhancing culturally innovation, which has made such a strong contribution to the collective imagination which considers progress the reduction of work to a «do to do more and more». To return to the essence of doing well aimed at the contemplation of what has been done, we need to redefine a system of values whereby beauty becomes more important than profit, because how can we contemplate what has been done, if we do not add beauty to the original beauty of the world?


To transform the foundations of the cultural paradigm which is dominant nowadays, we need to rebuild a collective imagination capable not only of  exposing and ridiculing without fear, the four tricks of the huckster with which contemporary art pursues the cultural enhancement of innovation, but also to recognize the signs of art which penetrate the very soul of humanity, overcoming the boundaries of space and time; creating, as it always did, before becoming entangled in the web of modernity, an uninterrupted thread between generations. Because art, as Egon Schiele wrote on his prison walls, is not modern. Art is eternal.


Gabriella Arduino, architect and painter

Vincent Cheynet, chief editor of La Décroissance

Pier Paolo Dal Monte, doctor and philosopher

Massimo De Maio, graphic designer and ecologist

Duccio Demetrio, filosofo, fondatore della Libera Università dell’Autobiografia di Anghiari

Filippo La Porta, essayist and literary critic

Giordano Mancini, master of arts, green manager

Maurizio Pallante, essayist

Alessandro Pertosa, researcher in philosophy

Mario Pisani, architect

Paolo Portoghesi, architect

Giannozzo Pucci, publisher

Bruno Ricca, publisher

Lucilio Santoni, author

Filippo Schillaci, essayist






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