A creativity manifesto can apply and appeal to anyone, it doesn’t have to be confined to artists. I suspect the reason this manifesto focuses so much on artists is because they were instrumental, as they so often are, in putting it together. Here it is (from Mike Masnick’s April 13, 2012 posting on Techdirt),
Here’s a bit from Masnick about the manifesto,
What I love most about this is how inclusive it is, and how much of it is about recognizing and embracing what an amazingly creative time this is for artists. All too often, we hear of artists who decry such things, who complain about the fact that their club doesn’t feel as exclusive any more. For artists and an art exhibit to not just embrace, but joyfully celebrate the way creativity works today, while recognizing how these tools mean that anyone and everyone are creating art all the time, is really wonderful to see.
This ‘poster’ and the full manifesto (excerpt below) were published online at a 2011 photography show, Les Rencontres Arles Photographie, in Arles, France.
My car’s called Picasso
A name that people getting born around the world just now are more likely to hear for the first time in connection with a car rather than one of the twentieth century’s most influential painters. Here we have a sign of the porousness of today’s boundaries between art and popular culture, itself a reflection of the High / Low yoyo that’s been going up and down for near on a century now. Soon we’ll be celebrating the hundredth birthday of Marcel Duchamp’s invention of the readymade, since which the concept of taking some everyday consumer product and importing it into art has been all the rage. Most of the historical avant-garde movements—Dada, Surrealism, Pop, the Situationist International, the Picture Generation and Postmodernism—delved extensively into the visual resources of appropriation, to the point where it’s now become a medium in its own right. These days artists resort to appropriation the way their quattrocento predecessors did to the camera obscura, or a Sunday painter does to watercolour. Everybody’s on the bandwagon: the artist currently in the spotlight, the art student, the lady next door, my cousin—right down to the art directors of the big car companies.
The growth of the Internet and the proliferation of sites for searching out and/or sharing images online—Flickr, Photobucket, Facebook, Google Images, eBay, to name only the best-known—now mean a plethora of visual resources that was inconceivable as little as ten years ago: a phenomenon comparable to the advent of running water and gas in big cities in the nineteenth century. We all know just how thoroughly those amenities altered people’s way of life in terms of everyday comfort and hygiene—and now, right in our own homes, we have an image-tap that’s refashioning our visual habits just as radically. …
Across-the-board appropriation on the one hand plus hyper-accessibility of images on the other: a pairing that would prove particularly fertile and stimulating for the art field. Beginning with the first years of the new millennium—Google Images launched in 2001, Google Maps in 2004 and Flickr the same year—artists jumped at the new technologies, and since then more and more of them have been taking advantage of the wealth of opportunities offered by the Internet. …
People are mixing, matching, and appropriation in all kinds of fields so I don’t think it would take too much to change this manifesto to make even more inclusive by adding scientists and others to the mix.