New Arts, Eighth and Ninth, the arts born in the 20th century

By JUAN CARLOS Hoyos

In 1985 the Lumière brothers screened the first film and gave birth to the seventh art. At that time the world was lit by candles and the carriages were drawn by horses. The 20th century came with all its technological and cultural developments and two new arts emerged: the eighth, and the ninth. This brief manifesto explains what these arts are, their limits, themes, and development, in an easy and brief way and with lots of examples.

• Language: English
• Publisher: JUAN CARLOS Hoyos
• Release date: Mar 24, 2023
• ISBN: 9798215961247

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Eighth and Ninth

Avant garde

Juan Carlos Hoyos

To my parents

Written in 2015

Published in Spanish 2015

Published in English 2022

Translation: J.C.H.

All rights reserved

Indie published

Prohibited copying this document, or any part of it, without the express and written authorization by the owners of the authorial rights.

Eight and Ninth

Avant garde

Tabla de contenido

INTRODUCTION

seven classic

ORIGINS: THE COUNT BEGINS

CLASSICAL ARTS: THE SEVEN OF THE LAST ROMAN

THE MIDDLE AGES: REDISCOVER THE CLASSIC LIST

RENAISSANCE: EVEN THE LIST MUST CHANGE

Avant garde

THE SEVENTH: THE CINEMA

EIGHTH ART

GENERALITIES-DEFINITION:

THE EIGHTH ART: AN ART THAT ASKS FOR RECOGNITION

INNOVATION VS CLICHÉ

DEFAULT EXTENSION: CONTINENT AND CONTENT

MODULARITY AND REPETITION: FORMULA OR LAW

THE AUTHOR: ARTIST OR ENTERTAINER

DEONTOLOGY:  MORAL OBLIGATION

MASS MEDIA: THE MOST INNOCENT OF READERS

TV: THE KING OF THE EIGHTH

ADVERTISING: THE RICH GIRL

NINTH ART

THE NEW SUPPORT: MACHINES THAT SEEM TO THINK.

THE NEW DISTRIBUTION CHANNEL

A NEW LANGUAGE

THE METAPHOR

MULTIMEDIA:

SYNTHESIS OF THE ARTS PLUS SOFTWARE (PROGRAMMING)

NON-LINEARITY: THE NEW NARRATIVE

TAXONOMY: THE RULE OF THE NEW LANGUAGE

POSTMODERNISM: THE RECOMPOSITION OF FRAGMENTS

SPATIAL AND LINEAR MOUNTING

NON-LINEAR AND MUTABLE MONTAGE

THE NEW AUDIENCE: HE CO-AUTHOR

USABILITY, TRANSPARENCY, AND ORIENTATION: THE COMPASS OF THE NINTH

INTERACTIVITY: AN ARTIST ASSOCIATED WITH HIS PUBLIC

THE NINTH: ART OR FAIR SHOW?

APPLIED ARTS: THE SOCIAL AUTHOR

OTHER LISTINGS: ANYONE IS VALID

INTRODUCTION

This brief manifesto is an introduction to the new arts, those that have permeated society to its last corners, those that shape culture, opinion, taste, and other aesthetic parameters, those that have been applauded and vilified, those that have survived despite the insistence on keeping them ignored, the Eighth and Ninth.

Before describing and enunciating them, it is necessary to clarify some terms and establish starting points of view. This text does not consider the Universal History of Arts as the history of European art, like it, always, coined quite successfully, nor that of its descendant, the United States art of the second half of the 20th century. However, the chosen examples may turn out to be precisely those that Eurocentric art has always used and the only reason for this is that they are points of agreement, known examples, which help to clarify the argument, precisely is on common places we must build so that it is within the reach of the majority.

seven classic

ORIGINS: THE COUNT BEGINS

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The human being is an animal that has managed to get rid of its instinctive blindness and access stages such as humor, laughter, speech, romantic love, flowery death, honor, and aesthetics. The reason why this has happened, throughout hundreds of thousands of years, cannot be explained by evolution because it does not seem linked at all to the ability to survive. The invisible link between an aesthetic value and a deep joy is very unexpected. Other animals play, they are loyal and love, they can choose a partner for the rest of their lives and even get high and addicted and maybe is possible that they enjoy a sunset or marvel at the perfect roundness of the sun, maybe the bees feel pleasure in the perfect hexagons from their hive or the wasps in their strange nest shapes or some birds as they weave the cradle for their eggs or swing on a draft.

Surely human beings inherited aesthetic enjoyment from prehuman ancestors and there has never been a human being without that characteristic. Very surely it was not humanity who invented this pleasure but rather inherited it like hair or mammary glands. n the dawn of time, the rhythm of tapping, walking, could be the seed for music or dance, a back and forth of growls become the beginning of a song. And in no time at all, they would be tracing pictures in the sand with their finger or a stick. By the time they begin to leave their drawings in Altamira, Lascaux, and other lesser-known but even older ones, they are no longer beginners and their handling of proportions and stylistic line proves it.

The cave painting that is found in all geographies and at the dawn of all societies is for any human being proof of intelligence, of abstraction capacity, of interest in representation or expression, and, of course, in addition to the technical capacity to carry it out, the intention to create an aesthetic fact. The marks that can be seen in some caves in Spain, in which someone blew paint on his hand to leave its silhouette, already demonstrates all these conditions, speaks of a being that transcended the animal, and what is disconcerting is that it is possible, according to a 2012 study, that its authors were not human beings like us, but Neanderthals, another branch of humans that became extinct, or that we homo sapiens possibly extinct.

The hand we see today can be around 30,000 years old. Something that took that caveman, literally, a breath, a few seconds, immortalized him. Surely, he did not have immortality motivations in the way we understand them today, but this action on the part of a man who had not yet discovered agriculture or domesticated animals is very significant as if art were the very first seed of what it is to be human.

More incredible is that, in a very short time, he could make representations of bison, other animals, and even human figures, with great skill. We have all tried to draw at some time to discover that it is not easy to get the hand to trace on paper what is in our brain or our eyes see. The cave paintings are not a board on which trial and error can be practiced, it is a scenario with a unique shot, with a unique opportunity.