The Second Manifesto of Virtuism by R.S. Pearson (1986)

As the reasons for trends of art continues in mostly radically subjective meanings, and interpretation continues in this stage of general worthlessness, in as far as there has been only small progress in realms of serious art which are both innovative and popular, art will therefore soon shift over into a stage where it has a beneficial value for a large audience. In painting, names of technical virtuosi in both realism and abstract techniques will hopefully again freely emanate on people's tongues.

The value art will have in the near future will once again place innovative modern artists into the forefront. These people, who may be primarily visual artists, will be artists who do not give the bare minimum but who manifest skills in abundance. People can again produce 3 by 5 foot works which as copies are hung on walls, no need for the minimal aim of innovation as decoration.

These works will instruct over a period of years a large amount of facts pertaining to a hard science, craft, skill, human or other history, social science, ad infinitum. It will be artists who will soon take over the role of educator. Education is a virt ue, as is repetitively useful art.

This manifesto chiefly examines other aspects of the word Vritue, especially a new framework to look at the concept of Didacticism in art. There is no reason to call this The First Didactic Art Manifesto. The original definition of this Virtue aesthetic was to enhance the relation between the feeling one gets from witnessing or participating in the virtuous acts and the prolonged aesthetic experience, but with these statements were also statements about the areas I've directed my attention in 1986.

At the first stage of the Virtue writings, circa January 1984 to February 1985, my ideas were concerned mostly with a terribly neglected area of art which was/is the ideas surrounding peculiar experiences which are produced after ethical and philosophical obsessions (of the nature of Rimbaud's seer in one instance), or the aesthetics of the spiritual in another (the aesthetics of the charity worker kinds).

This bounteous idea had to be put aside, but not forgotten, by the analysis of the other uses of the word virtue, which eventually developed into a small philosophical system. Ecological minded citizens would want a solution to the problems of ecology, an d anything that contributes to the nonviolent overthrow of the destroyers of the earth is "virtuous." For me, this involved the interactions of science and art into a theoretical total solution of the problem of ecological ruin of the planet. This solving of ecological problems was by a reinventing of technology by the fusion of the sciences of genetics, botany, and electronics, creating a mutation of the mechanism of photosynthesis. This produced an outline and a work which proved to me the worth of art created for a value, besides merely aesthetics, or propaganda of one type or another.

An other work guided by a Dadaistic contempt for the negative state of things is Para-literature: The Telical Exhaustion of the Interactions of Words. The original Emotive Virtuist doctrine of infinite possibility and not predicating the catalogue of the universe led me to this work which will be discussed below.

Once these new areas had been mapped out I still realized that the old idea of a Emotive Virtuist movement -- as in the excepts of the first text in Artitude #10 (Feb/March 1986) -- are in many ways more vital than the ideas of Telical (or Meaningful) Syntax Exhaustion or Biodegradable Technology. In some dualism they are more vital because they are an artist's attempt for a momentary change in someone's life, and by loving, the artist experiences love by concentrating on the creation of the work.


Creative Virtue

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