ampliative art

BECAUSE TOGETHER WE CAN REALIZE OUR COLLECTIVE ASPIRATIONS

 

 

FREQUENTLY ASKED QUESTIONS

 

* Terms

+ Ampliative

When we speak of something being "ampliative", we mean something that extends, broadens or, in general, enhances; or that which can extend, broaden or enhance. As far as "to enhance", we mean to enrich, augment, expand, develop, improve or deepen something in a way that is neither lineal nor quantifiable, but rather multifaceted and multidirectional, whether it be, for example, a specific field of knowledge, someone's point of view or someone's knowledge of how to do something.

So in AA we use the verb "to enhance" to refer both to people and things, but with a difference. Through the ampliative procedure art actors can enhance things such as the procedure itself, the features of its web platform, or even art paradigms with additions, corrections, or improvements. However, when we say that AA provides the means by which actors can "enhance other people" through the offering of their works and donations, that "enhancement" will depend on how those people receive those offerings, as well as what their individual experiences, their level of familiarity with art and their worldviews are. Thus the enhancements offered by actors to others can only be effective as such in a personal and indirect way according to the assessment, attitude and life experience of each person who receives them with regard to what is offered.

In this way, just as "enhancements" would be the result of those works, donations and contributions that were assessed and judged to be "ampliative" or "enhancing" by the actors who receive them, actors will choose to reward the works, donations and contributions of others according to that which each of them finds ampliative. What is sought with these "enhancements" is that, in addition to the enhancements they themselves may produce, they give rise to a correspondence and a reciprocal reward among the various actors which may be propagated and returned in different senses and dimensions in a circuit of reciprocal enhancements that is itself ampliative.

+ Ampliative Art

Ampliative Art is an empowering, self-sustaining and ampliative art procedure whose purpose is to foster dynamics of involvement and provide art actors with alternatives to the art market so that those who wish to do so can generate and distribute a collective, multidimensional enhancement based on a set of ethico-social and cooperative principles. To accomplish this, Ampliative Art will offer a web platform where actors can bring about a reciprocal exchange of enhancements and rewards through their works and donations, as well as contributing to the construction and enhancement of the procedure and its platform. For more information, see the section "Objectives and operations".

+ Web platform

Web platform “Ampliative" will be the initial medium where Ampliative Art can be carried out and developed by those actors who want to be part of its procedure. To achieve that, the platform will offer a collaborative environment and a set of empowering tools with which the various actors can, among other things: interact with each other; offer and make known their works, acts or donations to enhance others; reward each other reciprocally through various possible donations; and involve themselves cooperatively in building and enhancing both the platform and Ampliative Art in a democratic, horizontal and decentralised way. The platform is currently seeking contributors (see “Contribute") in order to be able to begin "crowd-building" it.

+ Offerings

In Ampliative Art we call "offerings" those voluntary and generous acts through which the various ampliative actors offer and make available on the web platform their works and donations to enhance others in some respect.

+ Collective, multidimensional enhancement

In Ampliative Art we call "collective, multidimensional enhancement" the aggregate potential that art actors have for generating and distributing new states, conditions, relations and perspectives, in various respects and dimensions, to a substantial number of people through the offering of their works and donations. Understood in this way, and given that the main objective of Ampliative Art is to make possible the conditions by which actors can continuously create and spread this enhancement, Ampliative Art will offer a web platform with features oriented toward helping the various actors to develop a reciprocal circuit of extensions and rewards through the offering of their works and donations.

+ Art actors and Ampliative actors

We call "art actors" all those people, groups or organisations interested in the arts that are potentially able and willing to be part of the ampliative procedure, whether by offering works and donations or support, cooperation and participation in the Ampliative Art project. So when we speak of art actors, we do not mean exclusively the group of actors who make up the so called professionalised world of art, but also those actors with an interest in the arts that might be part of the process but do not belong to that group.

Following from this, we call "ampliative actors" those art actors who pursue the ampliative procedure and offer their works, donations or contributions to others with the unselfish desire to enhance them in some respect. Thus ampliative actors are not only those artists who offer their works of art on the web platform, but also all those actors who, together with others and Ampliative Art, contribute to enhancing their prospects and possibilities.

+ Art works and Ampliative works

We call "art works" all those works, actions, processes, mechanisms, art interventions, etc. that are understood as art and that have been or can be offered by art actors on the web platform to enhance, voluntarily and unselfishly, others in some respect.

The art works that come from the ampliative procedure will be "ampliative works" when the actors who receive them individually assess and judge them as offering enhancements in some respect or sphere. Such works will, as a result, have greater chances of being rewarded by those actors.

+ Autonomy

When we speak of "autonomy", we do not speak of that meaning in art that refers to the ability of the artist to express his or her individual subjectivity. Rather we mean that host of structural conditions that allow us to develop not only our own subjectivity, but also our art and our cooperative organisation in a purposive way and without depending on or being limited by third parties.

So, when we say that one of the missions of Ampliative Art is to provide art actors with the greatest autonomy possible, we mean that Ampliative Art will offer a set of structural conditions to those actors so they themselves, through their cooperation, can develop the media they think best for developing their art, their subjectivity and their involvement as independently as possible with respect to those entities that intend to dominate them.

+ Consideration

By "consideration" we understand that interpersonal relationship of mutual respect in which different people do their best to understand each other despite their differences. Following from what seems to be its etymological sense, "con-siderare", consideration would be that relationship in which two or more people deepen their emotional ties while observing the space around them and jointly expanding their knowledge of the world around them.

+ Involvement

We understand by "involvement" that diverse set of feelings and ties that develop between different actors when they set out to achieve a series of common objectives cooperatively.

+ Art Market and Commercial Art System

When we speak of the "art market", we mean the system of mechanisms, structures and intermediation that shape and dominate the current state of art and which consists of the industrialisation and commodification of the tasks and works of art actors with the goal of distributing the greatest economic gains possible to the entities that control and manage that system. Thus, the "commercial art system" is the set of structures, intermediation, norms and processes by which the works and other tasks of the art world are produced, distributed and communicated according to the current neoliberal capitalist market.

+ Norms and conventions of the Art Market

We call "norms and conventions of the art market" not only to the models and rules directly or indirectly imposed by the predominant art market entities and demanded of art actors in order to have their work paid, but also the requirement to assimilate and spread the conceptual, ideological and symbolic systems that these entities have established as paradigms to be followed in order to gain access to these market circuits.

* Objectives and operation

+ What objectives has Ampliative Art proposed in its initial phase and how does it intend to achieve them?

Below we list some of the most important objectives toward which the initial phase of Ampliative Art is oriented. These are:

  • Generate and distribute a collective, multidimensional enhancement.

  • Provide art actors the greatest autonomy possible so they can develop their art without the limitations and inequalities imposed by the entities, structures and norms of the commercial art system.

  • Offer a medium in which actors can be rewarded reciprocally through various donations in order to enhance their situation and contribute to their being able to continue developing their art.

  • See that art circulates according to a set of ethico-social principles that actors can extend to other spheres of society.

  • Offer a democratic procedure in which actors can be part of the organisation, construction and enhancement of the procedure and its platform in a decentralised and cooperative way.

  • Offer a collaborative and horizontal environment where actors can become involved in setting and reaching common objectives in a way that can dilute the inequalities created by the market.

  • Provide a procedure by which the actors most critical of the system can find a way to be seen and rewarded that allows them to call into question all those myths, confusions and distortions that weigh upon art, the work of art and the role of culture in our society.

  • Create the necessary conditions by which actors can be empowered so that it is they themselves who constitute and construct the means and mechanisms they find most fitting to mitigate their marginalisation, enhance their situation and present their art.

  • Provide for an encounter of various actors with different conceptions and worldviews so that their debating and sharing of ideas enhance the possibilities of art and foster mutual consideration among them.

  • Propose a procedure that fosters the reduction and offsetting of the predominant significations that hang over art, such as the current economistic sense of art, through favourable conditions and the collective critical reasoning strength of art actors.

  • Give new value to the assemblage (agencement) of both technological and structural mechanisms so that ampliative actors have the chance to bring about new stages of subjectivisation and involvement beyond the commodification and stylisation of our lives.

  • Contribute to new dynamics of social autonomy so that actors can contribute new emancipatory options to free themselves from those entities and structures that limit the realisation of their collective dreams.

  • Recapture the communal, civilising and ampliative potential of art.

  • Etc.

In order to achieve these objectives given that all of them have been thought through in light of what the ampliative procedure will be, the first thing we will need to do is "crowd-build" a web platform where Ampliative Art can be carried out. To do that, we invite all those who wish to contribute to the process (see “Contribute") to join us. Once the platform is built, how, between all of us, we can achieve these objectives through works, acts and donations will depend on the soundness of the procedure, the features included in the platform and the involvement of all the actors.

+ How does the art procedure work between actors?

By way of explanation, the operation of Ampliative Art happens at two levels: the art procedure between actors on the one hand, and the enhancement of the procedure itself and the platform (as explained in the next point) on the other.

The art procedure between the actors in the first version of Ampliative Art will work in the following way:

An actor, or group of art actors, creates a work of art (or process, art intervention, act, device . . . etc.) and offers it on the web platform voluntarily and unselfishly with a view to enhancing others in some respect. After that, other actors can access those works, enjoy them and assess them based on the enhancements received and their artistic value. If these actors feel that those works have provided an enhancement, they will be able to recognise the value of those works and reward them directly and voluntarily through the various types of donations provided for on the platform. These donations are: the donation of money, of criticism, of art and of dissemination. In this way the process consists of a reciprocal circuit of enhancements and rewards where the actors will be able to continue rewarding each other indefinitely according to the enhancements they contribute to others through the works and donations offered.

In the "Works and donations" category the works that can form part of the procedure are explained, and an example of some enhancements that can be made through the offering of donations is given.

+ How is the enhancement of the procedure and the platform carried out?

In its initial phase the web platform will provide a set of spaces and features for those actors who wish to be part of and contribute to the process of developing and enhancing the ampliative procedure and its platform. These spaces are:

  • Debate space, where the actors can criticise and debate the ideas underlying the initial procedure or propose others and enhance or improve the procedure or platform in some respect.
  • Accountability space, where both the organisational and economic activities of the organisation can be monitored in order to debate the measures taken or propose others.
  • "Crowd-building" space, where actors can access the collaborative tools we have to cooperate in the construction and enhancement of the platform.
  • Contribution space, where contributions of various types are asked for, and where actors can see the different ways in which they can contribute: financing, translation of texts, etc.
  • Voting space, where actors can vote and decide collectively on the steps Ampliative Art will take according to the debates and proposals offered in the debate space.

As we detail in the "Enhancement and governance" category, the idea is to achieve the greatest involvement possible on the part of all the actors who wish to contribute. In that way we can collectively set our objectives and design the ways of reaching them in order to enhance our situation, our possibilities and our perspectives.

* Actors

+ Who can be part of Ampliative Art?

All those people, groups, organisations or institutions that wish to be part of Ampliative Art can be. They can all create their own profiles on the web platform for free and offer their works or donations to others. Ampliative Art invites all those stances that hope to enhance their world and generate new states to participate in its procedure since its mission is to mobilise the energy of the multitude so that together we can devise new conditions that allow us to create and activate other possible worlds through art. Special mention must be made of all those art actors who have been left aside or marginalised by the commercial art system and its intermediaries. Ampliative Art excludes no one because their works or worldviews do not follow the norms given or who do not merely pursue economic benefit, but rather encourages plurality and the critical encounter of diverse points of view.

+ What is the role currently imposed on artists and in what way does Ampliative Art restore their non-business function to them?

In the current mercantilist state of cultural industrialisation combined with new technologies, artists not only have to produce objects that conform to a set of conventions, they must also be the business owners of themselves and strengthen their own "personal brand". To do that, in addition to the classical production of transferrable and marketable objects, they must also perform other tasks such as maintaining a constant presence in the media, reinforcing their branding, boosting their communication, developing marketing strategies, polishing their personal style, networking, etc. However, although in Ampliative Art we recognise that this role and these tasks are now very widespread, highly developed and thoroughly internalised among art actors, we believe that they are tasks that confound the true work of art since, among other things, they obligate actors to reduce the time needed to prepare and execute their works. Because of all this, the system of remunerations provided by Ampliative Art will be based on the works themselves and not on the tasks noted. The rewards will be granted and received based on the enhancements contributed by works or donations, and not on the reputation or the business acumen of the actors.

+ What do we mean when we speak of the encounter of different actors and what does Ampliative Art hope to achieve by it?

As Ampliative Art will admit any type of art beyond the limits imposed by the market and its intermediaries, it will lead to the encounter of diverse actors with different artistic stances and worldviews making it possible for them to share ideas and debate among themselves through their works and donations. On the one hand, this debate may cause a host of new and diverse relations among the different actors and their different worldviews. On the other hand, it will encourage these actors, through the collective strength of their critical reasoning, to offset and reduce those entities that want to impose their significations on everyone else. This encounter is intended to provide a critical and plural context in which the actors can be mobilised according to their stances in such a way that consideration and involvement can emerge among them and motivate them to contribute to the improvement of their collective structural situation.

+ What is the function of the audience in Ampliative Art?

Ampliative Art is an art procedure carried out by various art actors who have come together to contribute various enhancements in a rewarding and reciprocal way. The so-called audience, in our case, in addition to receiving the works of others and being able to be enhanced by them, is also able to join actively in the ampliative process and enhance the actors who have produced those works by using the various donations the platform has. In this way, the artists and the audience in Ampliative Art stop being potentially separate. Since both have the same chances to offer enhancements by offering their works and rewarding those of others, both can be ampliative actors who can be rewarded by contributing to the reciprocal ampliative process.

+ How can diversity be beneficial in terms of the different degrees of familiarity with art that art actors have?

From our point of view, there would be no reason to underrate the encounter with other actors who have a different degree of familiarity with art. On the one hand, those people with little art training who want to broaden their worldview and their art will not only be able to enjoy and reward the art that has been offered by more professional art actors. They can also to be seen by and follow the actors they encounter who have a similar level of familiarity with art, as a result of which they will be able to receive and grant enhancements in different degrees and senses. On the other hand, those actors with greater familiarity with art can encounter artefacts made and offered by non-professional actors that contain worldviews, references and formalisations different from those they are used to seeing in the professional art world, as a result of which they can receive various enhancements in unexpected respects and reward them through other donations. In addition, while these professional actors participate in the ampliative procedure, they can always continue with their professional work and follow those actors who conform to their expectations.

* Web platform

+ Why is Ampliative Art starting with a web platform and what does that entail?

We think the most effective way to begin to develop Ampliative Art is by means of a web platform since with it the actors can interact among themselves as well as access and transfer their offerings to each other more easily for not being dependent on a common place or time. In addition, we believe that virtual media and digital tools will allow us to reduce the cost of building, using and maintaining our medium, the web platform, while granting us a greater ability to make the procedure known to those art actors who have been left aside or marginalised by the commercial system throughout the world.

As far as the limitations entailed in using a web platform as a mediating structure between the various actors is concerned, our collective mission will be to find the resources and the ways to minimise the economic and technical impediments so that the greatest number of actors possible can have access to and interact and become involved with others. To do that, we will work with different groupware applications in the construction phase of the platform so that those actors who wish to contribute can propose, criticise or build those tools, modules or features that minimise the limitations. However, we must be cautious and try not to use those structures and services that belong to those business conglomerates of questionable social commitment that rule the Internet since they can take advantage of our actions and privacy to increase their profits. In order to strengthen our commitment regarding our principles, the platform will offer a space dedicated to accountability where every actor can monitor and discuss all the activities, both organisational and economic, such as those carried out in the construction and development of the platform.

+ What process is planned for building the platform and what types of contributions exist to achieve it?

Ampliative Art invites all those actors who wish to improve the situation and enhance the prospects of art actors to cooperate in the construction of Ampliative Art's web platform. In order to achieve that we propose the following process:

  1. Make public the Manifesto and include a space where people can see the ways of contributing to the project (see “Contribute").
  2. Disseminate the Manifesto through different media.
  3. Compile the offers to contribute to the building of the platform and contact the interested parties.
  4. Call people together via select groupware applications that allow us to cooperate and talk virtually.
  5. Move to the collective deliberation phase and begin deciding on the tools to be used in building the platform.
  6. Seek the financing needed to be able to support the services and hosting needed for the platform.
  7. Begin cooperatively programming, designing and spreading the news of the web platform.
  8. Put the ampliative procedure into operation and begin the horizontal and decentralised decision-making and management of Ampliative Art and its platform.

It must be noted that, as Ampliative Art is a very ambitious project given that it intends to offer an art procedure which is an alternative to the market, we will also need the support of all those actors who wish to participate but do not have the skills needed to build the web platform. For all of you, we present here (see “Contribute") the ways in which you can contribute to the project. Thank you very much for your support.

+ In being performed via a web platform, is Ampliative Art rejecting art done in the public space?

One of the wishes of Ampliative Art is to be able to move to the public space. In order to do that, instead of beginning to work and develop locally, which would limit its initial field of action and diffusion, it has been thought that the best way to test the benefits of Ampliative Art and bring together a number of people committed to its development is to start the procedure on a web platform that includes a set of collective deliberation tools that can be used by many people separated by space and time. In this way our intention is to develop a series of steps strategically so that future actors can have a combination of virtual and real ampliative media. Even though Ampliative Art's initial phase is carried out on a web platform, that does not mean that we reject local art interventions or cultural activism. Given that we recognise that the public space can be the most effective medium to bring about transformations on a real scale, the platform will have the tools needed for actors to record their art interventions and public activities for playback later. In this way many other actors from different parts of the planet will be able to be enhanced by them and to reward them, enhance them, or even reproduce them in their respective locations.

* Works and donations

+ What type of works can be part of Ampliative Art?

In the initial phase of Ampliative Art, actors are free to offer all those works, actions, processes, devices, art interventions, etc. that can be reproduced digitally on the web platform. Unlike other procedures, Ampliative Art does not favour or impose restrictions regarding styles, forms or subject matter since it is based on bringing together diverse artistic conceptions and individual worldviews so that by sharing ideas and debating, actors can bring about a circuit of reciprocal enhancements in diverse spheres and senses.

+ How and in what formats can actors offer their works on the web platform?

Given the current state of web platforms, art actors can upload their digital works, or the digitalised versions of their "physical" works in the following formats: images, hypertexts, audio and video. Our intention in this regard is that actors have enough autonomy to be able to articulate and make their approaches to art known from different material aspects since we do not believe that the field of art has to favour exclusively separate objects or certain styles simply because they may be marketable or collectible. Because of this actors will be able to publish works on the platform whose contents result from the combination of several of the formats mentioned. To give an example, a possible work that could be offered on the web platform might consist of assembling a combination of a non-fiction text, a digitally created image and a video that reproduces an art intervention in a public space.

+ How can we know if a work or donation is ampliative?

Ampliative Art does not have a set of rules to indicate which works or donations are really ampliative and which are not since, according to the definitions we have given in "Terms", it must be the actors themselves who determine what is ampliative or suitable for reward through their personal assessments. In this way, to know if a work or a donation is ampliative, there will only need to be a conscious effort to discover and assimilate the possible enhancements that the works presented have.

+ How can we create works or make donations that enhance others?

Given that the enhancements will arise in connection with the people who assess them, we feel that the important thing in offering enhancements is not to delimit beforehand the ways of enhancing others since that could lead us down the wrong road. Rather one must be aware of the fact that the works, acts and donations that are offered can have more chances to enhance others when they have been made and offered with that end in mind. So it seems to us that the best way to begin enhancing others will be by conceptualising and executing our works in such a way that they enhance our own lives as we create them.

+ How can actors reward and enhance others through various donations?

These are the donations that actors will be able to offer on the first version of the platform to reward and enhance the works and donations offered by others:

  • The donation of money, understood as an economic reward that can improve the circumstances of the actors with an eye toward recognising their work and helping them continue to develop their art.
  • The donation of criticism, understood as the offering of reasoned critiques that can enrich actors' worldviews and perspectives conceptually and be projected in their works and donations.
  • The donation of art, that is, the offering of art works that complement or enhance the works offered by other actors in some respect in order to give them other dimensions with other references and relations.
  • And the donation of dissemination, which consists of making the works and donations of others known in other media so that the possibility of their being rewarded increases.

It is worth pointing out that all donations can entail various enhancements in different respects and spheres at the same time, and that all of them will entail an affective enhancement by being offered voluntarily and unselfishly to enhance the lives of others.

+ What are ampliative works worth?

The value of ampliative works has at least two aspects. On the one hand the practical value of ampliative works lies in their ability to contribute multidimensional enhancements for the actors who produce them, for those who receive them and for those who reward them with a donation. On the other, their potential value lies in their ability to be ampliative since these works, for having the ability to bring together and involve various actors with the expectation of being able to enhance them or be enhanced by them, and for being developed in an environment (the web platform) that makes possible reciprocal rewards, foster the generation of a circuit of enhancements and rewards that springs from them.

+ What do we mean when we say that ampliative works can generate a different value to that of the works controlled by the commercial system?

The market, as is known, seeks and favours those objects that are original and distinctive in order to generate greater profit margins. Thus, unlike the art innovations filed away in museums, which presumably seek to represent those notable things not previously stored in their spaces, the market and the art industry encourage the production of works that appear to be different and are quantifiable, scarce and can be possessed so that they can transfer the greatest economic amounts in the circuit of the objects of the same kind. In contrast, in Ampliative Art neither this type of originality nor the reduction of works to the taste or entertainment of the public will be encouraged. Rather it will focus on generating and distributing the greatest collective, multidimensional enhancement possible. As enhancements depend on the personal assessment of the person who receives them, occupy no physical space and cannot be possessed or collected except in each person, the value of the enhancements cannot be measured by their objectual value, but by their projective value. In this way, the value of enhancements, from our point of view, lies in their being able to contribute new perspectives to the people who receive them so that those people can formulate new ampliative projections based on them.

If that which is original is collected, it becomes part of a container which attributes the same property to all that is collected, as a result of which its originality cannot be completely realised for not being completely different. Rather it will share with other originalities the property of being collected for its originality. That which enhances or is ampliative may be different or not and may be based on an objectual materiality or not, since its principal value is being able to give rise to other enhancements. In this way, although that which is ampliative is exposed through a reproduction and not in its original form as object, it will always be able to maintain the ability to generate other enhancements in various respects based on its potentiality. The quality of originality, then, evaporates when its objects are included in the same container, but the value of enhancement does not since its value does not consist of being different, but in bringing about new perspectives. That which is original is sought after and prized for generating greater economic gains to the extent of its difference and uniqueness, because the restriction on its access increases its scarcity and, as a result, its capacity to generate greater income. That which is ampliative, on the other hand, is offered as an intrapersonal good whose potentiality consists of giving a new dimension to or changing the state of things, as a result of which its limitation makes no sense as it would require the involvement of other people in order really to be able to project and change the state of things. Therefore that which is ampliative, unlike other commercial objects, is something that invites being distributed for free since there is always the possibility that its offering can be returned in the future with the help of other actors in receiving other enhancements in other spheres and senses.

+ How can actors manage the rights to their works when they offer them on the platform?

The art actors who wish to offer their works and donations through the ampliative procedure will have complete freedom to register, list or confer any property rights they wish before publishing them on the platform. In this regard, the only restrictions that Ampliative Art will require so that the works can be offered on the web platform will be: that their creators indicate they types of rights they are invoking and licences they may be granting so that other actors can keep them in mind in rewarding or using those works, and that the actors agree that the works can be accessible and reproducible on the platform freely and for free since in this way other actors will be able to enjoy those works, receive their enhancements and even reward them.

+ How can actors shape other possible worlds through Ampliative Art?

Basically by the autonomy and liberty they have to offer their art and other contributions to others via the platform. Thus, some of the ways in which art actors may shape other worlds through their art would be, for example: creating definitions of other possible worlds, uncovering the current conventions of subjection and exploitation, building forms of subjectivity that give new value to a subversive common sense by which we can organise ourselves, mobilising our acts and passions toward the liberation from that which limits us, indicating what entities impede the development of the potential of our existence in their mere individual interest, developing new linguistic codes and new forms of narration that go beyond and expose the norms imposed by the communications media controlled by the money-making sphere . . . and so many other ways that there might be and that might contribute so much to framing our wishes and calling into question that which keeps us from carrying them out purposively and positively.

* Ampliative Art

+ What isn't Ampliative Art?

  • Ampliative Art is neither an art style nor a trend. It is a procedure intended to allow the meeting of different art styles, trends and movements.

  • Ampliative Art is not an art fad. It is a procedure designed to go beyond the art fads created by the market in favour of continuous multidimensional enhancements

  • Ampliative Art is not a mere container for works of art. It is a procedure where its actors can offer works and donations, rewarding each other, and cooperating in building and enhancing the means of projecting their art and being remunerated for it.

  • Ampliative Art is not a barter system. It is a procedure that seeks to bring about a host of enhancements in various respects and spheres to the greatest number of people possible through the unselfish involvement and cooperation of its actors.

  • Ampliative Art is not a structure for producing ephemeral, participative communities looking for idle entertainment. It is a procedure designed to generate a community of involved members in which we can cooperatively create other conditions that allow our art to be rewarded and projected in ways other than through the market.

  • Ampliative Art is not a mere space for presenting art portfolios. It is an art procedure based on reciprocity that has been designed so we can generate and disseminate a collective, multidimensional enhancement based on a set of dynamics of involvement.

  • Ampliative Art is not a device intended to impose a meaning on art. It is a procedure that just provides an environment and tools so that diverse actors, through their collective, critical strength, can offset the predominant forces that hang over art and even reorient or modulate the procedure itself.

  • Ampliative Art is not an art production and distribution system. It is a procedure by which actors can be rewarded reciprocally and project their art in an autonomous and self-sustaining way with respect to the commercial art system and its intermediation.

  • Ampliative Art is not an anti-capitalist utopia. It is an alternative procedure that has been consciously and carefully designed for the purpose of making it easier for diverse art actors to be able to be involved and cooperate to improve their conditions and construct other means by which to mitigate their precarious work and life situations.

  • Ampliative Art is not another "collaborative" platform based on individualised and self-interested interpersonal relationships. It is a procedure that has been designed so that its actors can generate affective interpersonal ties and build better collective conditions by offering their works and donations voluntarily and unselfishly.

+ Does Ampliative Art intend to impose a definitive definition of what art is?

Ampliative Art is not proposed as the only legitimate form of art nor does it presume to impose a new style or new definition of art. It is a procedure based on accommodating the greatest possible critical plurality of art conceptions and practices so that the actors themselves, in their diversity and through their offerings and discussions, can offset those predominant influences which try to impose their meanings on art in their own mere interest, as the economistic sense of art has come to be right now. Furthermore, Ampliative Art does not presume to instruct or indoctrinate anyone since it is a procedure that can be collectively enhanced, modified or annulled by the actors through the different tools the platform will offer.

+ Why is Ampliative Art an art procedure?

Ampliative Art is an art procedure because it is a specific method to carry out and give rise to a series of dynamics related to art that are directed at certain objectives in such a way that various benefits for and impacts on the actors who develop it can be effected through the process itself. Said differently, Ampliative Art is an art procedure because, starting from a set of principles, its mission is to generate the conditions and dynamics that help art actors bring about the greatest collective, multidimensional enhancement possible through their cooperation and their art.

+ Why do we say that Ampliative Art is an ampliative procedure?

Following the definitions we set out in "Terms", we understand Ampliative Art as an ampliative procedure in at least two ways. On the one hand it is ampliative because it is a procedure that helps art actors to generate a collective, multidimensional enhancement via a reciprocal circuit of offerings and rewards with the shared desire to enhance others in some respect. On the other hand, we say that Ampliative Art is an ampliative procedure because it is an open, collective procedure by which the various actors can enhance both the procedure itself and the web platform on which the procedure is carried out. In this way, various actors can get involved and cooperate using the tools and features on the web platform in order to orient and modify the procedure, the platform, the objectives and the benefits they agree in a decentralised and horizontal way. Thus, it can be said that Ampliative Art is an ampliative procedure because it provides a set of conditions and a series of dynamics so that various actors can share their ideas and project the multidimensional enhancements they want, whether they have to do with improvement of the platform, the perfecting of the procedure, the enrichment of the field of art and its actors, or with enhancement of the world in general.

+ Is Ampliative Art a free and open procedure?

Ampliative Art is a free and open procedure because, unlike the norms of access required by the commercial art system, it imposes neither obstacles nor guidelines on art actors in producing or making their works known. Rather, Ampliative Art rejects any type of convention that limits the possibilities of art, contributing instead to a meeting of different worldviews so that by debating and sharing ideas, new motifs are brought about which enhance both art and the affective ties between its actors. Understood in this way, the objective is to foster liberty, criticism and diversity, and go beyond the limits and regulations imposed by the dominant entities in the art market, by providing an environment in which actors and their works can give rise to and develop transformations and enhancements in various orders, at structural, practical and artistic levels and in such a way that they can be developed for projection onto other spheres of society.

+ What do we mean when we say that Ampliative Art is an open and cooperative procedure?

Ampliative Art is an open procedure because it is a procedure that is free of charge and can be freely accessed, one that does not erect barriers to those actors who wish to access its contents or be part of its procedure. It is cooperative because it is carried out via distributed and decentralised governance and agency based on the work and offerings of its actors. In this way, and unlike certain current ephemeral, participative dynamics, actors can be involved in reaching the shared goals they propose, such as participating in the crowd-building, decision-making or financing of the procedure and its platform. In addition, it will be an accountable procedure whose organisation and economic activities will be open so that its actors can review them whenever they want.

+ In what sense is Ampliative Art a collective procedure?

Ampliative Art is a collective procedure because it provides an environment and tools so that many actors can generate a collective, multidimensional enhancement through the reciprocal offering of their works, donations and contributions. To see that the process of community building develops in a more empowering and equitable way, the initial version of the platform will include a set of tools that the various actors can use to build and govern both the procedure and its platform in a distributed, decentralised and cooperative way. In this way actors, despite being part of a group, do not have to set aside their individuality and unique nature, but rather will tend to strengthen them in order to shape and develop an environment, dynamics and conditions collectively with which to be able to enhance their individual opportunities.

+ What do we mean when we say that Ampliative Art is based on a set of ethico-social principles?

Ampliative Art, unlike the commercial system and its subordinating procedures, is based on a set of principles we can term cooperative as well as ethico-social. These are, among others:

  • The voluntary and unselfish offering of the best of oneself in order to enhance both others and oneself in various respects.

  • Consideration as an act of mutual respect that encourages reaching an understanding among and the involvement of different people.

  • Cooperation with others to project and achieve common objectives that benefit us all in various senses.

  • Fairness as a condition so that we can all to work together under the same conditions and with the same opportunities.

  • Artistic freedom to foster a variety of points of view with which we can enhance our lives in various spheres and senses through debate and the sharing of ideas.

  • Reciprocal donation as a form of voluntary and direct reward that helps to mitigate our precarious situation and increase our self-sufficiency.

  • Involvement of various people in order to build and carry out new, empowering media to bring about a collective enhancement and propagate dynamics of autonomy and social emancipation.

  • A critical attitude as an offering to enhance jointly the state of things and offset those significations which others try to impose in their own interests.

  • Decentralisation and accountability as mechanisms to govern the procedure and its media equitably and cooperatively.

  • Etc.

It must be noted that these principles are the motive force that will make Ampliative Art operate as a collective process of assemblage (agencement). Their objective is to promote a series of dynamics of involvement to help enhance our collective opportunities and our partnership while we carry out an ampliative art that can be projected onto other spheres of society.

+ Why is Ampliative Art an equitable process?

Ampliative Art is an equitable procedure because it does not impose access criteria on any of its actors, because it provides everyone with the same conditions for making their art known and being remunerated for it, because it is based on a voluntary system of reciprocal rewards without intermediation or commissions of any type, and because it allows everyone to be part of the organisation, development and construction of both the procedure and its platform without special privileges of any kind. Therefore, Ampliative Art is an equitable procedure because it provides all of its actors equal conditions and opportunities to be part of the process without regard to their socio-economic status, their artistic stances or their degree of familiarity with art.

+ What do we mean when we say that Ampliative Art is a self-sustaining procedure?

We say that Ampliative Art is a self-sustaining procedure for two reasons. On the one hand because it provides the conditions and tools with which actors can reward each other with various donations in order to create a direct, meritocratic and community-based reward system; and, on the other hand, because it rejects the mechanisms and structures provided by the market and its business conglomerates in favour of developing an autonomous and cooperative procedure based on a self-sufficiency provided by its community of actors.

But Ampliative Art is not a closed self-sustaining procedure that is only maintained by the resources generated in its surroundings. It is an open, self-sustaining procedure that will also allow contributions offered by those persons or organisations that are not part of it and whose intention is to enhance the opportunities of others in an unselfish way. In this way, both the ampliative actors themselves and all those people or organisations that offer to enhance others unselfishly can participate in the circuit of rewards and donations. Therefore, although we are aware of the fact that a project of this magnitude, at least in its initial phases, cannot be accomplished completely independently of market structures, our task will be to make it possible not to depend on those entities that undermine our collective abilities for their mere economic benefit.

+ What attitude has led to the proposal of Ampliative Art?

Our attitude in proposing Ampliative Art as a new, empowering art procedure is without doubt positive, optimistic and determined. Ampliative Art forms part of other processes of change that try to offset systemic inequalities by making possible different socio-political conditions. Our mission in this sense is to give new value to the coming together of various stances and ideologies via a new art procedure so that through debate and the sharing of ideas we can project and build the media to move beyond that which limits our collective abilities.

In order to make this possible, Ampliative Art will offer a set of empowering tools on its web platform so that those actors who so wish, including those that have been left aside or in precarious situations by the commercial art system, can transform and enhance their statuses, situation and prospects, dissociating themselves from that system to the greatest extent possible.

It is clear that as we progress we will run into multiple difficulties, but that should not discourage us since, if we are aware of what we seek and are clear about what we do not wish to continue happening, it will be up to us to get involved and work together to establish the new conditions that will allow us to create and activate the worlds we desire.

+ Is Ampliative Art a critical procedure that accepts critical stances?

Ampliative Art, by being a procedure critical of the state of art and one that will be enhanced by its actors, admits all those works or writings that are offered to reveal the problems or contradictions of procedure itself. In this way, unlike those other procedures which block criticisms that are made, Ampliative Art will welcome all those criticisms that are well intentioned since its platform will offer tools to respond to them and it is felt that criticism can always help improve the procedure.

On the other hand, in Ampliative Art we understand that any critical art that seeks to transform its surroundings has greater chances of making this change more effectively from a medium that is free from those conventions and structures that limit its legitimacy or visibility. Our idea is that all art must have sufficiently autonomous conditions to be able to project the meanings it considers most important. To do that we propose a new art procedure whose mission will be to grant the greatest autonomy possible to its actors so that they can shape and put forward an art critical of those limitations and the world that surrounds us.

So Ampliative Art is not a critique of the market in the ways that certain works, acts or texts criticise the commercial state of art by following the very norms imposed by it in the hope of being compensated. Rather, on the contrary, it is a real critique, a positive critique that proposes a new art procedure to help actors develop, be remunerated for and project their art regardless of the demands and intermediation imposed by those entities that want to govern art for their mere economic benefit.

* Ampliative Art as an alternative procedure

+ What do we mean when we say that Ampliative Art is an art procedure alternative to the domination of the market?

The Ampliative Art explained here is not proposed as a new, alternate procedure to the market simply for being different since with that we would be making the mistake of following the very norms induced by the competitive market of difference. Ampliative Art is a procedure designed with an internal logic to reach a series of objectives different to those of the commercial art system so that the various significations that hang over art can be offset and diversified. Given that right now an economistic sense of art clearly predominates and the commercial art system imposes its inequality and economic marginalisation on a great number of art actors, our mission will be to propose a horizontal and cooperative procedure that from the beginning provides an alternative method of remuneration and projection by which art actors can develop their art and build their structures with the maximum autonomy and self-sustainability possible with respect to the structures and intermediation provided by the commercial system.

+ How does Ampliative Art differ from other, current participative proposals?

Unlike certain participative activities promoted by certain entities, Ampliative Art does not consist of generating contextual and ephemeral social relations to entertain its public, nor does it take unilateral advantage of that participation. Ampliative Art is based on cooperative involvement in order to be able to achieve a series of collective objectives, as well as to offer the needed conditions via its web platform to enable its participants to be rewarded by other actors based on the enhancements they have contributed to others.

+ Is Ampliative Art a sort of virtual museum on a web platform?

Ampliative Art does not seek to gather together or integrate various works of art on a web platform like a virtual container or universal museum. On the contrary, what is proposed as a procedure is to provide a set of conditions in one medium, a web platform, so that different art actors can distribute their works and be rewarded for them in such a way that they are motivated to offer some enhancement to others. Ampliative Art, then, is not designed to ascribe to itself the total value of all those works that generate an enhancement since we are aware that that value will depend solely on the art actors who produce the works. Ampliative Art is designed to provide an ecosystem that restores the intrinsic power of art and its actors to assemble a set of tools and devices that allow art actors to bring about and propagate a collective, multidimensional enhancement.

+ What do we mean when we say that Ampliative Art intends to offset the predominance of the current economistic view of art?

Art and culture have been subsumed into “creative industries” by the reigning economistic ideology that tends to commercialise all spheres of our lives. They intend to make certain norms established by the art market such as originality, trendiness and difference, the paradigms that incentivise the mass production and consumption on which the current economy of overabundance is based. Thus art has been converted into a mere industrial sector of the economy and art actors into mere business owners of themselves who must maximise their profits in a context of a savage competition characterised by a set of norms to which they must adapt.

From our point of view, art and its actors are and can be much more than this since their ampliative potential, as long as it is realised under sufficiently autonomous conditions, is capable of generating other forms of understanding, making and transforming the world in which we live. At this moment in which the economic realm imposes a set of rules on art, requiring a degree of autonomy to be able to develop stops making sense for not really being that, but rather for being a discursive instrument which helps the hegemonic entities to increase their economic and symbolic gains. For all these reasons we believe that the best way to level and offset the imbalance promoted by the economistic sense of art is by proposing a new self-supporting art procedure that provides the conditions and tools so that art actors themselves, through their offerings and contributions, establish their perspectives, their ways of working and their meanings from their critical diversity and autonomy with respect to these entities.

+ What do we mean when we say that the commodification of art limits its potential?

The economistic and mercantilist sense of art forces all the processes assigned to art, such as production, distribution and communication to be standardised and directed by a set of norms and conventions supposedly to increase its profitability in the industrial sector if it wants to compete for a reward. That we must fit our art to the speculative demands of the market or must resign ourselves to having intermediaries take advantage of our work in order to get a certain recognition in that market are some of the norms upon which the work of art is conditioned. But there are others that have to do with forcing us to be business owners of ourselves even though we have to marginalise ourselves economically for a creativity which, curiously, consists of complying with the forms of expression that market trends impose.

All this, that without doubt is intended to marginalise art actors and increase the profits of the intermediaries, we feel reduces the true ampliative potential that we believe art and its actors have to act as critical and social driving forces in our society given that any art that dares to deviate from the guidelines set by the market and its intermediaries will be relegated to a blocked state of marginalisation and illegitimacy. Because of all this, Ampliative Art is proposed as a procedure to provide autonomy to art actors so they can go beyond the limits imposed by the commercial art system through their offerings and contributions.

Art and culture should not be instruments standardised and regulated by the economic sphere to rule us through the stimulus and illusion of believing ourselves creative and free at the cost of our marginalisation. Art and culture should be ampliative media with which actors can critically open other possible ways of understanding and enhancing our lives and our world.

+ Is Ampliative Art trying to invalidate other art procedures such as the commercial system?

Ampliative Art is not proposed to invalidate the commercial system or any others there might be since the procedure itself consists of bringing together the different conceptions of art there may be. In addition, we believe that there are works and justifiable cases that require greater investment and can only contribute the enhancements they propose via the mechanisms and structures of the market. Ampliative Art is only proposed as an alternative procedure that is deemed optimal for giving new value to what we believe is the true potential of art and its actors, that is, their ability to generate and distribute a collective, multidimensional enhancement. To achieve that, we have proposed achieving a series of objectives based on a set of ethico-social principles so that art actors who wish to be part of the procedure can develop their art with the greatest autonomy possible with respect to the possible intermediaries or the possible limits that there may be in other procedures.

+ Does Ampliative Art intend to override the norms of the market?

AA does not intend to override either the criteria of legitimacy or the norms of access sanctioned by the various entities that dominate the commercialised world of art. It simply proposes a medium by which various actors can call them into question and create other forms with which the work of art can be rewarded. In Ampliative Art we believe that art should not be limited by a series of demands imposed by those entities that control the mechanisms and structures by which most art is distributed and unequally remunerated. Ampliative Art provides alternative, free and equitable conditions so that it is art actors, in their autonomy, who, in a collective and decentralised way, can set their objectives as well as being able to have their work seen, rewarded and recognised.

+ Does Ampliative Art intend to supplant the function of institutions?

Ampliative Art does not intend to supplant institutions since we believe that many of them maintain a certain potential to present publically the value of other positions that critically confront the conditions offered by hegemonic structures. In addition, since these institutions gather together certain historical artefacts of art and society, their host of references will help us in carrying out our ampliative art. Ampliative Art simply intends to propose a procedure that makes it possible for actors to establish, through a series of open and empowering devices, the ways in which ampliative offerings that emerge there can be both recognised and rewarded despite the industrialisation and trends of the commercial system. If art actors want to enhance the art and reality around them, they must inevitably use those references that museums and other institutions can offer since to enhance something requires knowing what it is that is being enhanced and why. Thus, in later stages, the web platform plans to include a space where actors can use those resources and references contributed by the institutions that wish to work with us since, in that way, actors will be able to have a basis for their works and execute them with greater ampliative capacity.

+ Does Ampliative Art intend to nullify the function of art critics or art mediators?

No, Ampliative Art values and considers indispensable the work of critics and will offer a set of tools on the platform so that anyone who wishes, including professional critics, can contribute their critiques of the works and donations of others in such a way that the latter have the option of responding. Since Ampliative Art does not intend to supplant either the art market or art institutions, non-speculative art mediators will be able to continue with their work as usual while being offered the opportunity to be mediators of those art actors that offer their works and donations on the platform. So then, Ampliative Art does not intend to nullify the function of critics or mediators, but rather will invite them to be part of the reciprocal circuit of offerings and rewards so that they can enhance others and be rewarded while pursuing their professions in other media.

+ Why is Ampliative Art a more ampliative procedure for art than the commercial procedure?

We believe Ampliative Art may be more ampliative than the commercial procedure because it is focused on at least the following four factors:

  • The first factor would be that Ampliative Art makes explicit its objective of generating and distributing a collective, multidimensional enhancement by basing its system of rewards on the reciprocal offering of works and donations that enhance others in some respect.
  • The second reason would be that Ampliative Art, unlike the market's patronage of certain styles and obstruction of others, works by means of the unrestricted coming together of various actors which fosters the sharing of their offerings and debate, thereby helping to enrich the field of art.
  • The third would be due to the conscious effort to foster the autonomy of art actors since, unlike the market, Ampliative Art will not impose a set of norms and conventions to be followed to generate economic profit. Rather it will try to create free, egalitarian conditions free from any predominant authority so that actors can develop their art critically, consistently and without limitations.
  • And last, would be due to the fact that Ampliative Art will encourage that both the procedure and the platform be enhanced in cooperative, horizontal and decentralised ways by formulating the three preceding points with a set of conditions that encourage the emergence of certain dynamics of involvement among the various actors.

+ In what way does Ampliative Art intend to free itself from the commercial art system?

Ampliative Art intends to free itself from the commercial art system by proposing a procedure that is as self-sustainable as possible. It hopes to provide autonomy to art actors so they do not have to depend on the hegemonic entities that control the channels of production and distribution in the art market. Our task will be to offer, according to a set of ethico-social principles, the necessary conditions for actors to be able to effect a system of voluntary and reciprocal rewards whose objectives have more to do with the artistic development and projection of the actors than with the norms imposed by the market that seek to commodify our lives and work. The idea, then, is that through the platform, its tools and the cooperative involvement of actors, we can plan our common objectives and enhance our conditions as cooperatively and independently as possible with regard to those resources and structures provided by the economistic entities which only seek to marginalise and homogenise the work of art in order to increase their own profits.

+ How does Ampliative Art intend to free itself from the norms, conventions and tastes promoted by the commercial system?

One of the main tasks of Ampliative Art is offsetting the current predominant powers that hang over art and its ability to enhance the world since we believe that all art has more opportunities to project and shape other states when it is erected on the basis of plurality and autonomy that allow it to evolve. Although we propose measures to free ourselves as much as possible from market structures, we recognise that it will not be an easy task to free ourselves from those norms, conventions and tastes set by the market and its communication media since the hegemonic entities that control those structures have been working for quite some time to inculcate in us those symbolic, ideological and mytho-theological paradigms that suit them in order to make us instruments that speed up their economy of overabundance. To be able to move beyond this state, Ampliative Art will provide actors two elements that we believe fundamental: an open environment where various actors with different stances can come together, and a set of tools to allow those actors to both reward that which they find ampliative and criticise constructively that which can be enhanced. With these we hope that actors can share ideas, debate and develop their art progressively toward stances that are freer from those norms and paradigms that are imposed on them.

+ How might the commercial system be able to appropriate Ampliative Art and how could Ampliative Art avoid it?

We know it is difficult to predict the future, but we can clearly see that if Ampliative Art begins to operate suitably and ampliative works emerge from it, the market may want to acquire them as investment products since the history of capitalism has already taught us that it consists of taking ownership of and subverting all that which emerges as an alternative to its own system. In view of that, those actors who agree to the requirements of collectors will be the ones responsible for deciding if they wish to sell their works, remove them from the platform and be left to the possible criticisms of other actors or, on the contrary, continue making the works available so that other actors can be enhanced by them and reward them.

Therefore, if Ampliative Art comes to work as expected, the commercial system may be able to appropriate those ampliative works whose artists have lucrative interests or economic needs, but it will not be so easy to appropriate the procedure itself. Since Ampliative Art is a procedure based on distributed governance and our desire is to go beyond those things that have been imposed on us and limit our capacity to enhance our art and our world, the commercial system will have to overpower the strength of an ampliative community if it wants to appropriate the procedure.

+ How does the commercial art system place its actors in a precarious situation and how does Ampliative Art propose to mitigate it?

One of the major difficulties for art actors these days is surviving in a situation of savage and perpetual competition created by the narrow margins of visibility and payment to which the market is predisposed. The art market is managed and directed by speculative entities that control its structures in order to collect commissions for their intermediation. These structures are designed to channel that which circulates in the market with an eye to generating the greatest profits for its owners. To that end they have found it desirable to make possible the transfer of those goods with the greatest chances to generate added value due to their originality, uniqueness, scarcity, and difference. In order for these entities to have greater chances of finding works that meet or exceed these parameters, the system imposes a flexibilisation of the work of art actors and encourages a greater number of producers of that type of product. As a result of both the desire of these speculative entities to maintain their commissions and the restriction of buyers to a given number of sales, art actors less favoured by the system are paid unequally, unfairly and sporadically according to the occasional services they provide to the entities and institutions that grant them symbolic recognition in the market. Thus, the commercial art system keeps rising by making the work and life situations of art actors precarious and effectively disseminating a series of mytho-theologies and hopes that praise creativity and individual expression in order to force those actors to continue producing according to the paradigms and norms that have been imposed by the system and its hegemonic entities.

Ampliative Art is proposed as a critical, alternative procedure to that system since its mission is not to generate economic gains by causing inequality and instability among art actors, but rather to promote a self-sustaining environment through which invites involvement and through which actors can be remunerated reciprocally and project their art as autonomously as possible with respect to the limits and inequalities imposed by those entities.

* Rewards and recognition

+ How will art actors be able to use Ampliative Art's web platform to mitigate their precarious states?

Ampliative Art is designed as an alternative procedure to the commercial art system by which art actors will be able to tackle their precarious state. The web platform will offer a set of features with which actors can generate and set in motion a circuit of voluntary, recirprocal and direct rewards among themselves based on the enhancements contributed to others through their works and donations. In addition, art actors will have a way to give greater visibility to their works than the market's distribution channels, as a result of which chances for other actors, including those outside the procedure, to reward their works are increased. All this can be done without the interference of speculative intermediaries or commissions. For more information, see the section "Objectives and operations".

+ How and on what basis can actors reward the works and donations of others?

The works, acts and donations offered by art actors on the platform will be assessed individually and can be rewarded directly and without intermediaries through the various donations according to the enhancements received in those offerings. On the one hand, this avoids economic speculation based on possession and separate from the artists themselves (as happens in the market) given that we are talking about direct and voluntary rewards that recognise and give thanks for the enhancements unselfishly contributed by others. On the other hand, by being voluntary and free, the rewards will contribute to actors’ ability to reward the works in ways or amounts they consider appropriate as they will be able to take into account the possibilities available. So, with this procedure art actors will no longer have to pay a given price or comply with a set of requirements in order to make known or enjoy art. Rather they will have free access to offer their art or be enriched by the offerings of others and will be able to reward each other reciprocally according to their means through the different kinds of donations provided: the donation of money, of criticism, of art and of dissemination.

+ What expectation of reward does Ampliative Art offer its art actors?

Unlike other procedures, we do not want to create unfounded promises. As an alternative procedure to the market that is just beginning to develop, Ampliative Art cannot guarantee that all those art actors who follow its procedure are going to be remunerated as if they were full-time professionals. The only thing it promises is to create a collaborative environment and empowering conditions with which art actors can reward each other reciprocally with various donations in such a way that it will help them to be able to continue developing and being remunerated for their art even if it be alternatively and partially. Later, it will depend on the soundness of the procedure, the utility of the platform and the collective strength of the actors as Ampliative Art will be able to expand and increase the circulation of reciprocal rewards. The larger the community and the more involved it is with the objectives it proposes and makes possible, the greater the chances actors will have to see their work rewarded. But one thing is clear, if we truly want an autonomous art without guidelines, if we truly want to develop our own art without being taken advantage of by a host of speculators who profit at our expense, and if we really want everyone to have the same opportunities to have our work seen without the need for those selection criteria that only approve works that generate profits, the only way to achieve it will be by developing a new collective and self-sustaining art procedure based on a system of reciprocal rewards that allow us to free ourselves from all those obstacles created by the market. To achieve that we invite the whole world to participate in the project so that together we can create new conditions with which to enhance our art and our prospects collectively.

+ What forms of recognition and visibility does Ampliative Art offer?

In the commercial art procedure, the recognition of artists is generally given by the potential price of their works in the market and the status granted by the exhibition of those works in museums or galleries. The problem is that in order to gain access to that market and its narrow channels of visibility and distribution, works have to follow a set of norms and conventions that have been set by the market's dominant entities in order to generate the greatest economic gains possible. That limits the ability of actors to propose works that do not follow those norms, and it subjects them to a circle of marginalisation for the gain of others.

In Ampliative Art, since its procedure consists of a reciprocal circuit of offerings and rewards whose shared goal is to enhance others rather than a circuit of sales transactions, the recognition of works will not be determined by the price that they reach in the transaction system, but by their ability to enhance as judged by the actors who receive them. Thus, recognition in Ampliative Art will come from the tallying up of rewards that each work and each actor receives from other actors. Although it is not as “concrete” an assessment as market price, it will provide an estimate of the ability to enhance that these works and their actors have in the eyes of other actors who have voluntarily rewarded them.

Recognition in Ampliative Art, then, will be an active value not a passive one since it cannot be established through the abstraction of comparing some objects with others according to their ability to generate gains, but by the tallying up of those voluntary and unselfish acts that actors have offered in reward and recognition of the enhancements contributed by others. In this way, the ability to make each work visible in Ampliative Art will be given both by this type of aggregate recognition and other types of classification. Given that Ampliative Art is carried out via a web platform the virtual forms of organisation and presentation of the works and their actors can be developed according to the algorithms and criteria of visibility that the actors agree on. Thus, for example, the various actors will have not only the opportunity to view the works that have been rewarded the most by the community, but also to view those works that have been offered recently, those that have not been rewarded yet, as well as all those different combinations of classifications that we collectively want to program.

+ Does the offering of works on the platform exclude other opportunities for those works to be compensated by other actors through other procedures?

No, art actors that are part of Ampliative Art and offer their works on the platform in order to make them available to others are completely free to try to find other avenues of compensation outside the ampliative procedure since, unlike other procedures, and for not having intermediaries or being based on the possession of objects and producers, no legal requirement of exclusivity is imposed.

+ Does the self-sustainability of Ampliative Art admit rewards from outside its community?

Ampliative Art welcomes all the people and organisations that wish to offer their works or reward others through the donations they deem appropriate since Ampliative Art is not a closed self-sustaining procedure, but an open self-sustaining procedure in which all people are invited to contribute and enhance others.

* Enhancement and governance of Ampliative Art

+ Why do we say that Ampliative Art is a procedure that is itself ampliative?

Although Ampliative Art has been designed in principle through a series of individually formulated premises for a series of organisational reasons that have to do with the viability of the project, that is not to say that Ampliative Art stops there, but rather just the opposite since it consists of a procedure whose governance and agency will be distributed, horizontal and decentralised. What has been attempted to date has been the shaping of a consistent structure so that Ampliative Art can have an internal logic that is flexible in and of itself in view of those future modular additions that are determined collectively. Understood in this way, Ampliative Art is itself an ampliative procedure because its web platform will provide a set of tools and foster a series of dynamics of cooperation so we can build, develop and enhance the procedure and its platform together through the donations and contributions that each of us deems appropriate.

+ What is the process for enhancing the procedure and the platform?

The way the web platform and its operation have been designed in the initial phase, the process of enhancing the procedure and its platform may be carried out in the following way:

  • Firstly we offer a medium, the web platform, with a set of tools and features with which all those actors who so wish can contribute to the enhancement of the procedure and the platform.

  • Using one of these tools, the actors will be able to criticise whatever they want, or to propose other modules to enhance the features of the procedure or the platform.

  • These critiques and proposals will be debated in a space set aside for collective deliberation.

  • If one of the proposals is accepted by a majority of the actors, the proposal will be begun to be developed according to that which has been agreed to be the best way of preparing it.

  • Next, there will be a call within the community for actors willing to do what has been agreed upon.

  • The economic and material resources needed to develop said proposal will be sought by different means.

  • The proposed enhancement will be built using those collaborative applications or tools needed to give it form.

If the construction of one of the proposed enhancements requires economic assistance to be carried out, a debate will be opened to determine the appropriate ways and means of getting that aid without compromising our principles. A plausible example of getting financing in this way would be through crowdfunding campaigns.

+ In what sense is Ampliative Art a democratic, distributed and decentralised procedure?

In the beginning we will start with the proposals herein referenced with the explicit and necessary intention of opening the governance of the process to all those actors who wish to be part of it, since Ampliative Art is an ampliative and collective procedure. For that, as we have noted in the "Objectives and operations" section, Ampliative Art’s initial web platform will have a series of spaces and features with which various actors will be able to contribute to the organisation and governance of the procedure on an equal footing. With these features, actors will be able to:

  • Criticise the procedure, debate it or make other proposals.
  • Review and criticise the organisational and economic activities of the organisation.
  • See the contributions to the process that have been made by other actors.
  • Be part of the decision-making and vote on proposals that emerge from debates within the community,
  • And contribute to the building and development of its media by working together in different ways.

Therefore, once Ampliative Art and its platform begin to work, they will not continue to operate according to a centralised set of rules determined by one individual, but will develop according to what is agreed collectively and democratically with the different tools and spaces with which actors will be able to manage the procedure and its organisation in a decentralised, distributed and accountable way.

+ Why might ampliative actors feel motivated to do work other than creating art works in the ampliative procedure?

Unlike the artist-entrepreneur or other forms of the flexibilisation of labour fostered by today's capitalism, ampliative actors do not do things other than their art merely to meet the norms imposed in order to increase their competitive caché vis-à-vis other artists. Ampliative actors voluntarily offer the best of themselves through the various kinds of donations mentioned because they feel it makes sense to make it possible to enhance others in various ways so that other, multiple enhancements can be returned. Said differently, ampliative actors do not "flexibilise" their work merely to obtain greater economic gains, but because they feel that by involving themselves in a cooperative and reciprocal process such as Ampliative Art they can work together in the generation and distribution of a collective, multidimensional enhancement, with all that may mean for their personal integrity, their sociability, their art and their happiness. Thus Ampliative Art is not a classical division of the work of art nor is it the entrepreneurial work demanded by the market, but it is rather an opening, a levelling and an interchangeability of the tasks that constitute the work of art in order to activate other conceptions that comprise art as a process of multidimensional change.

* Organisation

+ How will the personal data of actors be handled?

Given that the privacy of actors is a priority for safeguarding their autonomy, actors' data entered on the platform will be handled in the most secure way possible according to the standards of security that experts in this area recommend. The data will be stored in secure and separate places using the encryption systems recommended to us. In order to establish the way to protect these data, the ways we can protect actors' data will be opened for discussion with one of the collaborative applications that we use in the debate space while the platform is being built. To that end all those experts in this field are invited to contribute to the building of the platform (see “Contribute”).

+ Could Ampliative Art be exhibited or presented in institutions?

As far as the possibility that certain ampliative works or Ampliative Art itself be invited to become part of or be present physically or symbolically in an institution, the first thing we will have to consider is if those institutions are committed to the public in their institutional work or not. Afterwards, we must recognise that the works are independent of Ampliative Art, so their makers will have complete freedom to do what they believe best in having the possibility of exhibiting their works in those institutions at the same time they make them available on the platform. As far as Ampliative Art as a procedure, all those invitations that do not seek to appropriate it or ask anything in return and are offered by those institutions which are not-for-profit and have a clear public orientation will be evaluated since they can make Ampliative Art and its benefits known to a wider audience.

+ Is there a possibility that certain entities or institutions might finance Ampliative Art, its web platform or the work of its actors?

Ampliative Art may accept the financing that comes from those entities or institutions that wish to finance the maintenance and development of Ampliative Art, its platform or the work of its actors as long as they do not ask for anything in return or for any commitments that might be detrimental to the principles by which Ampliative Art abides. In view of that possibility it must be said that this type of financing will only be accepted for developing Ampliative Art as a procedure alternative to the commodification of art and opposed to the marginalisation of its actors, which is why such decisions will be made collectively once the platform is built. As we have said, Ampliative Art is not a self-sustaining procedure that is only supplied with the resources produced in its environment, but one that will also accept and be grateful for unselfish and ampliative donations that come from all those people or organisations that are not part of the procedure, but whose intention is to develop the procedure and the work of its actors.

+ What organisational form will Ampliative Art take?

Given that the objective of Ampliative Art is not to produce economic profits, but provide the conditions for art actors to generate and distribute the greatest collective, multidimensional enhancement possible, we have agreed that the organisational form of Ampliative Art must be that of a not-for-profit organisation since in this way we can seek the resources that we need to build, maintain and develop the platform while implementing measures to prevent actors from profiting from it.

 
 
 

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