Before we delve in, it has to again be recounted that I, Appropouture, or as some may call me @bibles, did not invent the term ‘Currentivism’. Credit for that is given to @mtvinthe1990s, a user of the struggling social network ello who fabricated the term some time around September, 2014.
After much confusion regarding the term, @mtvinthe1990s laid out this definition:
IS DRIVEN BY A FOCUS ON THE THOUGHTS, FEELINGS, INFLUENCES THAT ARE IMMEDIATELY PERTINENT TO THE ARTIST;
IS DRIVEN BY A DISREGARD FOR PREVIOUS WORK, WHICH HAD BEEN DRIVEN BY A SET OF THOUGHTS, FEELINGS, AND INFLUENCES THAT ARE LIKELY NO LONGER RELEVANT IN THE NEW CURRENT CONTEXT;
IS MARKED BY DISPOSABILITY AND EPHEMERALITY, IMPERMANENCE.
IS AWARE THAT TODAY’S WORK IS INFORMED BY PREVIOUS WORK;
IS AWARE THAT TODAY’S WORK WILL INFORM FUTURE WORK;
IS UNCONCERNED WITH WORK THAT APPEARS OUT OF CONTEXT.
-IF THESE RULES SHOULD NOT FIT A LATER CONTEXT,
THEY SHALL BE DISREGARDED
You are Currentivist
Currentivism is not a new phenomenon. It has always existed in a primitive, short reaching capacity. For an artist it entails providing an audience with the essence of what takes place during the creative process, much of which is lost once a work reaches its audience.
The internet, more specifically, social networks have allowed for a smaller gap between artist and audience. The ability to compose a post within the network of one’s choosing and to publish instantly allows for seconds worth of separation compared to days, months, if not years.
Due to the massive amount of people providing content, an apparent lack of cohesion between a person’s provided content and the works of others, multiple identities per artist, at times absolute anonymity, and even inhuman submissions, currentivism is often labeled a facet of post-modernism.
Currentivism can be visualized as a streaming creation being performed upon an unbound platform. Traditional archival functions fail to capture the entirety and essence of the work created. Time plays an important role in currentivist works, functioning as a medium with unions of performers acting also as an audience capable of moving forward and backward through the work’s timeline presenting the possibility for infinite variations and absolute loss of material.
Thus it is the feed becomes the primary viewing method for currentivist works, which when viewed outside the lens of the present moment encompasses a landscape so broad that it becomes virtually three dimensional, elevating search engines to the second most prominent viewing method due to their capability to locate existing points within an artist’s portfolio.
Though anybody can create within the currentivist landscape, those who utilize the possibilities presented through the tools of the time have the possibility of creating an ironic permanence for themselves through the appeal and timelessness of their work and the representation it provides of the moment that it was created within.