Art for Man and Man for Art

A Pranacubiste Manifesto of Cultural Revolution

You've read the manifesto of Pranacubisme, but a number of issues remained in suspense?

Very good. This press conference is an opportunity to treat them and to get detailed answers not only
for you, journalists and art critics here, but also for contemporary artists who consider to join our
movement and for potential and actual consumers of Pranacubiste artwork.

They also have the right to know our answers and we count on your professionalism to transmit them.
Potential buyers of Pranacubiste art will be able to better estimate and appreciate the value of their
acquisitions and they will be better prepared to face the critics that every movement in the history of
art has experienced for daring to bother and shake up established cultural norms and practices.

We hope for this reason that the press conference will take place in the best possible conditions. A
new question can be put each time the question before has received a detailed and satisfying answer.

So I beg you to ask your questions.

Hello, Mister Jason, Mike Jason. I take care of the cultural section of the Washington Post. Looking
more closely the works of some artists who joined your movement I have found that some are made
using 3D imaging software and editing tools as well as programs like Photoshop to retouch and
enhance their paintings.

I just want to know how you define an artistic painting. What’s your definition of artistic painting?

First of all, I want to thank you for this question. You're absolutely right to cite the kind of images you
mentioned, and I welcome the opportunity to raise a common misunderstanding. A false distinction
between an image that deserves to be called a painting and another one that doesn’t deserve to be
called a painting can have very harmful consequences. It may in some cases totally compromise the
ability to estimate the true artistic value of a painted or printed image on canvas or on any other
medium. What is this misunderstanding?

Many people even amongst art critics still believe that someone who wants to paint something would
necessarily need a brush and some color tubes to do so. They are convinced that a painting done
without such means cannot be called a painting. What is our definition of painting? It is very simple
and very clear. The basic definition of painting is to cover a surface with some shapes and colors, or,
even more concise, apply colors and forms to a given surface.

Complementing and expanding this definition, we can say that an artistic painting demonstrates the
ability to color a given surface in an artistic way, that is to say, by applying and respecting certain
aesthetic principles and rules. The means chosen by the artist to color a surface and to express himself
are secondary to his professional and creative ability to do so. So we cannot deny the right to create
an art painting on the pretext that the artist did not use some brushes but some color spray bombs, or
some image editing software and ink cartridges to create his image. Do you have further questions?

Good morning, Mr. Schmidt of the "Frankfurter Allgemeine Zeitung" culture section.

Sorry to disturb the serenity of your solemn presentation, but that’s totally ridiculous. You really want
to put the art of a handcrafted painting on the same level with the trivial conception and production
of a digital painting? Do you have any idea, dear Sir, how much time is needed to study and master
just the basics of figurative drawing and of figurative painting?

And you, dear Sir, do you know how much time is needed to study and master just the basics of the
art of 3D drawing and modeling? No? I think I have answered your question. Your next question please.

Hello, Mister Bloomfield, Roger Bloomfield of "London Daily Post". I wonder if the founder of
Pranacubisme still uses brushes and color tubes?

Very good question, Mister Jason. It allows me to expand upon and clarify some aspects of the
aesthetic concept and of the technical tools of Pranacubisme. As I have often said on other occasions.
The Pranacubiste movement is not defined and is not progressing by opposition to one or more
traditional artistic movements, but it emerges by federating the progressive elements of all the stylistic
trends that the history of Western art has known and by leading them to their conclusion in a new
aesthetic and cultural synthesis.

Remember the last famous artists who have contemplated nature as their favorite subject before the
arrival and assault of the Cubist conquerors. One was the representative of Impressionism and was
called Monet, the other, representative of Symbolism, was Munch.

Both tried to free themselves and to free their paintings from aesthetic restrictions that they founded
and respected before. They finally wanted to liberate color of its obligation to enclose, to circumvent
and to represent always a form and a concrete and identifiable content. They tried to get closer to
each other and also to get closer to abstract painting without neglecting and totally sacrificing the
approach and achievements of figurative painting. In some way they tried to knock at the door of
Pranacubisme before it appeared in the present history of art. They would have done better to enter
without knocking and waiting for our answer. In this case they could have invented the movement of
Pranacubisme.

But let’s return to your question. We admit, we allow and we encourage the use of both, the digital
processing and the use of traditional painting tools. An example of a possible synthesis of these
different technical approaches is the painter and founder of Pranacubisme himself. The first part of a
Pranacubiste painting process follows a traditional and artisanal approach. A canvas is painted with
brushes and acrylic colors. Only the second part of the image processing is digital. The painting is
photographed and digitized to then be edited, retouched and reprocessed by an image editing
software. During its digital treatment certain filters and new image layers are added, some light effects,
some texture and composition effects are applied and the result is then reprinted on canvas to receive
its final touch and its final version by the hand of the artist.

Do you have more questions about it or can we move on.

Yes?

Mr. Kawasaki, Yoshi Kawasaki, of the "Daily Mirror" in Tokyo, hello. I appreciate the first exhibition of
Pranacubiste paintings that I had the opportunity to visit in Paris, and I am very interested in the social
dimension and the social responsibility of Pranacubiste art. My question refers to the 4 major themes
of the paintings that I have seen in Paris. Their titles are quite enigmatic and I don’t understand their
relationship with their content.

Thank you for that question, Mr. Kawasaki. It allows me to explain the different states of physical and
psychic energies that the paintings try to express. This question is particularly important because the
aesthetic and psychological impact on the viewer largely depends on his personal research to get and
understand these answers.

Each theme of the collection is the expression of a natural element and a particular life force of nature
that is present in the physical world but also in our inner world, in our psychology, because the visible
world and the invisible world are linked together as 2 parts of the same universe. And all vital forces,
physical and psychological, are interconnected in order to function together in harmony.

Each of the 4 major themes of the exhibition is a metaphor that illustrates one or more of the vital
forces and elements that are essential for the evolution of each living organism. Throughout their
multiple connections they are able to compose and to express the diversity and complexity of reality
that may be visible and invisible to our eyes.

Which vital element represents the theme of "Waterfalls" for you?

Yes, that's water. Can you imagine to live without water? Can you imagine our world without water?
This element is so essential to our life on Earth, that we are not able to imagine us living without it. But
beyond the physical reality of this element, the Pranacubisme also considers its symbolic meaning and
its symbolic reality. The symbolic meaning of water represents the vital element that is needed for
growth, for the deployment and the elevation of our mind and of our consciousness. Thus it represents
knowledge and information interconnected with creative thinking and brings food and substantial
energy to our mind and to our soul.

Another major theme and symbol of Pranacubisme is the temple theme. What basic element and vital
force of nature does it represent for you?

Yes, this theme represents the element of earth.

Can you imagine life on Earth, our life on earth, without this element? Obviously not. Why associate
the temple theme with the element earth? Let me anticipate some of your questions. The answer is,
for 2 main reasons. The first reason relates to an astonishing resemblance. Everywhere you are you
always have 2 shots and points of view, 2 different layers of space and time in front and inside of you.
These fundamental layers are opposed to each other while being at the same time connected and
united.

In a temple, the joining elements and linking structures are formed by the pillars and walls, and the
joined elements and linked structures are formed by the soil and the dome and the different levels
that may be in between them. In the outer reality and in the space of nature the opposite levels are
represented by the sky and the earth and the connecting elements are formed by vegetation, the
animal world and finally the human world. In the inward reality, in the reality of time the opposite
levels and dimensions are represented by the past and the future and the connecting elements are
formed by the present impressions, sensations, thoughts and aspirations of our actual state of mind
and of our actual state of consciousness.

Have a close look at the anatomy of a tree, of a plant, of a flower or of a human being and you will
discover the presence of 2 opposite levels. You will find the feet and head as well as the connecting
structures that link the physical and the mental levels to each other that connects the body to its spirit
and the material world to the immaterial world. In between this fundamental composition and
structure of organic reality we also find different layers of interconnection like the skeleton, the bone
tree but also the blood circulation, nervous system and the cellular system and thus an obvious
reflection of the temple theme that we already recognized in the outer space.

The 2nd reason why the temple was chosen as an allegory of our existence on earth and consequently
as an allegory of the earth element is the fact that it is a religious symbol that expresses an implicit
anthropological fact. The religious fact is obviously a constant in the history of mankind. We can find
and follow its traces in different variations and individual expressions, throughout all ages, in all
countries and among all tribes and nations on earth. Every scientific anthropologist will confirm this
declaration.

The temple theme as inner symbol and outer space of religious rituals and worship is the privileged
place where man turns to his cosmic origin in order to establish a connection and a sustainable
communication with him.

The theme of unity refers to another phenomenon of vital importance for the individual and collective
history of man and mankind. Union is defined as a state of harmony that may exist between the
different elements of a set. The components of this set are linked and have the ability to interact in
mutual exchange to create a dynamic, stable and sustainable balance. This dynamic balance between
different elements of an underlying structure, physical or psychological, exists to serve cohesion and
the proper functioning of the whole to which it belong.

We can't go now into all the details of the symbolism of Pranacubiste themes.

That's why we let you think freely about the subject of union and what it represents for you in your
private and professional life, where it may shine by its presence or by its absence. What does union
mean to you in the sense of unity, harmony and cohesion with yourself, with your values and with your
goals or in the sense of effective or deficient cohesion and relationship with your natural, professional
or social environment?

And finally let’s briefly look at the fourth theme, the symbol of ascension. This major theme of
Pranacubisme represents or symbolizes the evolutionary process that brings the elements of a
coherent and harmonious whole from a lower level to a higher level of expression and of functioning.
In this sense it organizes a certain set of biological, psychological, or even economic, social and political
elements to realize gradually its evolutionary potential, its potential of self-realization.

This theme thus encompasses the evolutionary potential of various existing entities and affects the life
cycle of plants, animals, men, tribes, nations, societies, cultures or civilizations.

Thus, a sunrise, a morning fog, cloud formation, the development of an embryo, the growth of plants,
organisms, blood circulation, respiratory system, development of neurons, the awakening of
consciousness but also a social promotion, a commercial success, a political victory can be considered
as different manifestations and variations of the same theme of ascension.

Are there any other questions on this subject?

Mr. Louchenkow, Vladimir Louchenkow, journalist from the “Daily world” in Moscow. I have also
visited the first exhibition of Pranacubiste paintings in Paris and I have to admit that I was very
impressed. The way it renders the vibrations, tensions and radiations of the colors and light, the way
it handles the multi-perspective in the composition of the paintings is simply outstanding. I discovered
a real substantial difference between a Pranacubiste painting and a traditional Cubist painting.

Yet there is one thing that puzzles me. I read in your manifesto that the role of color in a Pranacubiste
painting is to combine different layers of transparence to express its own reality, deepness and
symbolic dimension. The ultimate goal behind this is obviously to express and explore its own natural
potential and its own symbolic dimension. In order to achieve this ultimate goal the color as the basic
element of a painting needs to be liberated from the dictates of known forms and of physical
representations, artifacts, artificial objects, that is to say, of the whole world of materiel objects
created, used and often abused by man.

Thus a Pranacubiste painting seems to move voluntarily away from figurative painting in order to
approach the domain of abstract painting. The brush stroke and color applied to volumes and
circumvented spaces is no longer supposed to describe material objects, but they are from now on
authorized and even pushed to transcend the borders that have formerly reflected and broken the
light that made them visible and recognizable as objects that are familiar to us.

Their new aesthetic mission is to represent the vital energy as a primordial creative light. This powerful
light, original, primordial and colorful, shines through the seemingly materialistic reality that it is able
to render and to reflect.

You have done a good job in describing the symbolic function of colors in a Pranacubiste painting with
precise and meaningful terms Mr. Louchenkow, and I thank you for this amazing constructive and
helpful contribution, but tell me, what exactly is your question? I don't remember to have heard it.

Well, excuse me, but I just wanted to come to this point. My question is the following:

What is the relationship between the figurative elements and the non-figurative elements in a
Pranacubiste painting and a traditional Cubist painting?

Dear Sir Louchenkow, noting accurately the new symbolic function and sense of color in a Pranacubiste
picture and the importance of his vibrational and energetic aspect you have already anticipated a good
part of the answer. Only the role and purpose of the kind of objects that are represented in a
Pranacubiste picture in comparison to those represented in a traditional Cubist painting need to be
clarified a little bit more. If you understand their difference the relationship between figurative and
nonfigurative elements in both painting styles will become clear.

Let’s have a closer look to the kind of objects that are generally represented in a traditional cubist
painting. You will notice that apart geometric lines so characteristic of their composition they are
almost exclusively populated by reminiscences of cultural objects, that is to say, objects made by man,
artifacts. These objects are represented in a minimalist and not in a realistic way. They are fragmented
and deconstructed and then they are put in relationship in random proportions with each other.

You will also find that nature, landscapes as well as other objects, shapes and colors from our natural
environment are almost absent from traditional cubist paintings. It might be objected that a lot of
female portraits and bodies are represented especially in paintings of Picasso. That's right, but I ask
you, how are they represented? They are fragmented and scattered, and surrounded by objects that
suffer from the same distortion, but they are nevertheless easily detectable and seem to be trapped
in a crowd of shapes and incongruous lines that beset them on all sides.
You are right, but what kind of representations? The way female portraits and bodies are described
resembles exactly to the description of material and inanimate cultural forms in a cubistic painting.
They are associated with the world of things and objects. They clearly describe women as objects that
receive the same indelible mark of male domination. The methodic deconstruction, distortion and
manipulation clearly express destructive desires. They depict the raped innocence of life, represent
victims of materialism, of capitalism, of colonialism and of imperialism. They illustrate the results of
the aggression and the organized violence of the man who wants to conquer nature and the world to
make them ready to serve his interests. Look carefully to these pseudo artistic creatures, who have
become slaves in the prisons, hands and chains of their masters, naked, trembling, abused and
disfigured. They are waiting for the how much dreaded moment when they will be marked for eternity
by the patriarch and his burning iron, in full delirium of his overkilling imagination and destructive rage.

Now take a step forward and look more closely at a series of paintings representing the Pranacubisme.
Do you discover the same representations of the world of artifice, of cult objects created by man,
fragmented and shattered by the conquering and by the systematic intervention of man? Absolutely
not. Instead, you will find many organic forms, multiple horizons and underlying landscapes and nearly
nothing that could be artefacts and representative objects of what we call modern time, society and
civilization.

We can summarize the difference of figurative and abstract representation of the world between
traditional cubism and Pranacubisme as follows.

Cubism illustrates, expresses and defends a world which is characterized by the domination of man
over nature. Its paintings reflects the desire to produce, possess, control and manipulate material
objects. In this way it symbolizes materialistic, technological, economic and political power. In his
artwork the political, technological and industrial power of modern society is described and confirmed
as a force of disintegration and destruction and not as a power and capacity of creation, integration,
evolution and preservation.

A Pranacubiste painting tends to confirm and to express the opposite, that is to say, the power and the
rights of nature over man. Nature and our consciousness of nature lead us to the recognition of the
universal dimension of our existence. And it is nature which forces us to rethink our relationship with
it, but also with ourselves and with our fellow men. The purpose of this questioning is to make us
discover and accept our existential responsibility. What kind of existential responsibility? Our
responsibility to evolve and behave like human beings. We are not predators intended to shoot
anything that moves. What do you think is our purpose in life? Who can live in peace and happiness if
we destroy our environment and our neighbors in order to submit them to our whims and to our
desires of possession? Our existential responsibility is to acquire wisdom, self-control and compassion
in order to find solutions to the problems that concern us instead of dividing us and instead of suffering
further from their consequences. Pranacubisme is artwork in the service of humanity.

Our civilization faces a crisis of planetary dimension. The key of the solution lies in the sensible use of
our skills and the development of technological, cultural and social innovation in harmony and balance
with the vital forces, and scalable energy of the universe to which we owe our existence. A
Pranacubiste artist in general and a Pranacubiste painter in particular seek and find their major
inspiration in this kind of mindset. They succeed to develop their imagination and artistic skills in
observation and contemplation of the beauty and harmony revealed by nature and they succeed to
develop their human skills through their social commitment.

Are there still questions about that? Yes?

Good morning, Mr. Di Caprio, Giovanni Di Caprio, chief reporter and editor of the culture
section of the "Daily News" in Rom.

I followed with great interest your explanation of the relationship between figurative and
abstract elements in a Pranacubiste painting and a traditional Cubist painting. I was reminded
of a passage in your Manifesto where you explain that Pranacubisme is not defined by
opposition to other artistic movements. In some way it has to be considered as their continuity
rather than their termination and their replacement, because their main aesthetic concepts would
be preserved and kept alive in order to be rehabilitated and led to their conclusion and their final
synthesis.

But in your last explanations you clearly point out a fundamental opposition between the
aesthetic approach of Pranacubisme and traditional cubism. I wonder and I ask you where the
truth is?

Thank you very much for your question Mr. Di Caprio. You will see that things are much
simpler than you think they are. The apparent contradiction that you believe to see will vanish
as soon as you take the right angle of observation and reflection.

The innovative and creative force of Cubism is the will to go beyond appearances, beyond a
simple imitation of reality through a realistic reproduction of his appearances. Thus, the
ambition, the intention and the creative impulse of Cubist painters are turned to the same
objective: to become able to solve the mystery of existence beyond its outer appearance and to
reveal its hidden meaning by the means of artistic painting.

This is the initial reason why cubist painters are ready to break the appearance of shapes and everyday
objects that surround us and which have become so familiar that we do not put them anymore into
question. They want to help us renew our outlook on the world and on ourselves to make us think
again about the true meaning of the reality we have built and the objects it contains.

It may surprise you, but the aesthetic approach of Pranacubisme is not really opposed to the
objective of traditional Cubism, on the contrary, it confirms it and continues to work for its
achievement. What’s wrong is not the goal in itself, but the path and the method chosen to
pursue the goal and to reach it. For what reason? The stylistic and compositional principles
chosen by traditional cubism prevent their purpose instead of serving it.

And the same thing happens in other artistic currents. They all have some truth which should
be recognized, preserved and developed and they all share some errors that should be unmasked,
recognized and fixed.
The main mistake of the founders of Cubism was to apply their technique of deconstruction,
their preferred method of composition and considered as an aesthetic rule, only on selected
items of the apparent reality instead of applying it to themselves, their own opinions, their own
state of mind and ultimately to their own aesthetic theories.
Failing to follow through on their own concept of methodical deconstruction and fragmentation they
stopped halfway. Thus they were unable to replace broken and deconstructed objects and subjects of
the real world and of their imaginary world by something other than by their own subjectivity.
Do you have other questions, dear friends?
Yes, Mr. Sanchez, Rodrigo Sanchez. Journalist and art critic of the "New World" in Madrid. I
think you presented the differences and similarities between the traditional cubist style and the
Pranacubiste style in a clear and convincing manner.
I would like if you allow leave the domain of painting for a moment and enter the domain of
literature and music. You define Pranacubisme as a universal artistic movement that transcends
the borders and traditional divisions between different artistic disciplines and professions. You
also claim that the central Pranacubiste message could be expressed through different artistic
means, without losing its identity. It would still remain essentially the same and equal to itself.

This essential aesthetic identity of a Pranacubiste core message would help us identify a painting, a
manuscript, a play, a movie, a song or a musical composition as a Pranacubiste artwork.

Could you tell us a little more about this unique and universal message that transcends traditional
boundaries of art, How to describe it? And through which means can it be illustrated and recognized
without any doubt or ambiguity?

Thank you Mr. Sanchez for this pertinent question, because it affects the main part, the
background and the central goal of our movement.
Let’s briefly review the various disciplines of art and their means of expression in order to ask
ourselves, what they may have in common apart from the evident fact that they all claim to
produce artwork.
The answer is surprisingly simple. All objects that are considered as artwork tell us in one way
or another a story. The artistic Paintings tell us their story with still images, shapes and colors.
Characters who speak and images that move do the same in a piece of literature, of theater or
of cinema, and musicians tell us their story using vocal expression and their instruments,
sounds, melodies and chords.
Do you follow me so far Mr.Sanchez?
Yes, but I still don’t understand how that helps us to determine if we are in front of an artwork
or not.
Dear Mr. Sanchez, may I put you on the track? You've read the Pranacubiste manifesto, isn't it?
Ok. So you already know various elements of style and composition that characterize a
Pranacubiste artwork. Now tell me, if you have some idea of a story that could be told with
these elements?

Yes, but I refuse to answer the questions I asked you.

Mr. Sanchez, I am sorry, but I just wanted to help you find some answers by your own. If you've
read the manifesto carefully you already know all major elements that are common to a
Pranacubiste work. And because there are common elements it is clear that you can find them
also in other Pranacubiste artworks. Every artist that joined our movement is able to invent, to
design and to articulate a new and original version and a new variation of the Pranacubiste core
message by using the same underlying components or “Leitmotivs” and combining them in his
original and unique manner.
The degree of originality of a Pranacubiste artwork depends on the personality of the artist, his
experience, of the mastery of his design and composition tools, but also of his insight, his
creativity and his capacity of innovation. All these parameters influence his ability to create and
highlight an original and personal variation of the common aesthetic message in the exercise of
his art. The originality of his work is in some sort proportional to his ability to individualize
and embody an aesthetic message of collective and universal character.

I know quite well, that my role and responsibility in this press conference is to answer your
questions. But let me remind you what you should already know after a careful reading of our
treaty. You already know the main elements of style and composition of a painting
Pranacubiste, well. Imagine that you are a writer and musician and a Pranacubiste painting
inspires you for your next opus.

What is your objective and what is your mean to achieve it? Well, your objective is to
successfully implement a common aesthetic message in a different frame and in a different
medium of artistic expression.

The question of the different planes and layers of meaning, of the components and "leitmotivs" of a
Pranacubiste artwork that we should transpose can be resumed like this:

What are the main chapters and themes of the story and the common aesthetic message and
background that the artist is about to transcribe, to transmit and express in a different way, in
his own way?

1. The first layer of meaning expresses what we get from the outer appearance of an
artwork in a tangible way and primarily by means of our senses. It expresses sensual
information we receive and interpret with our senses. .This level refers to the material
dimension of an artwork.

2. The second level expresses what we can deduce from what we received from our senses
by means of our mind, thought and reflection. It expresses information we can get and
interpret with our spirit. This level refers to the spiritual dimension of an artwork.

3. And last not least, the third level, the third dimension of Pranacubisme becomes
noticeable by means of reflection and achievable through means of action. This level
refers to the social dimension of an artwork.

Because of the presence of these three dimensions in a Pranacubiste artwork we can state that the
cultural transformation at the individual and collective level by means of Pranacubisme is not only
possible but that it represents its essential cultural objective and priority.

Yes, you have a question about that?

Hi, I'm Mr. Kingstroem, Larsen Kingstroem, journalist and head of the cultural section of the
Stockholm “Daily News”. I have waited for this moment impatiently in order to hear the details
of your revolutionary cultural project. But before getting deeper into this subject, I would like
to know how in practice, not in theory, it is possible to transpose the stylistic elements of the
material layer of a Pranacubiste painting for example into a song, or even into a pure musical
composition that can be performed by an orchestra.
Mr. Kingstroem, your questions are very relevant and it is a pleasure for me to answer them.

The key to understand the intimate correspondence between color and sound effects is emotion.
Pay attention to the emotion that a color or a certain set of colors evokes in you and then try to
answer the following question. What kind of sound or musical tune and harmony could be able
to provoke a similar emotion?

If you do this exercise several times with concentration, and especially if you really try to
experiment to get the best out of it you will achieve concrete and surprising results.

We can distinguish two categories of sounds:

1. The first applies to the tonal system and musical composition itself. It is based on the laws
of tonal harmony and musical notation.

2. The second applies to the world much more ambivalent, but not less expressive of sound
textures, rhythms and sound effects in general.

In the area of sound textures you can easily find and reproduce the expression of certain material
properties and their qualities, like humidity or dryness, density or lightness, light or darkness,
warmth or cold. All these physical properties with their equivalent mental condition can be
evoked by sound signals or by optical signals, shapes and tunes.

In the field of colors and sounds we can distinguish those that produce a soothing effect of
others who have a more stimulating or even exciting effect. The excitation produced by sound
effects can be pleasant or unpleasant. It can induce a surge of adrenaline and courage, or a state
of stress and anxiety, of confusion and frustration.

But let us go back to the biological and ecological aspects of the outward layer, the interface
that represents the first level of inspiration and expression for a Pranacubiste artwork. By
observing the properties and energetic movements of natural elements in our inside and outside
world we can clearly distinguish the presence of two vital forces that follow apparently opposite
directions and that are at the same time interconnected to each other.

Despite their bipolar structure both basic vital forces always work in the interest of an superior
order. They maintain and develop the harmony of the biological, ecological or organic entity in
which their presence and functioning can be observed. One of them is ascending, the other is
descending, one of them is centrifugal, the other concentric, one of them is extrovert, the other
introverted.

You remember the symbolic themes of “waterfall” and of «ascension”, but also of the “temple”
image and of its architectural structure that can symbolize the body structure of living
organisms, terrestrial habitats and even the relationship between heaven and earth, between the
ascending energies and the descending energies of nature and the universe, that are kept in a
constant flow and a constant vibration between them and finally the theme of “ union” on a
physical, spiritual or social level that addresses the subject of cohesion and cooperation of the
various vital energies and life forces in a given biological, ecological or social entity.
Without anticipating the results of your own research I feel that major chords of the tonal system
are appropriated to express the ascending direction, the centrifugal orientation, the outgoing
and expressive tendency and the solar aspect of vital energy. They are able to induce feelings
of warmth, of wellbeing, of fulfillment, of hope, of confidence and seem to reflect and stimulate
an optimistic mindset, as well as an entrepreneurial and dynamic attitude turned to activity,
present development and future achievement.

On the other side, minor chords seem to better express the enfolding power and the introverted
movement of life, supporting the desire to relax, to get free from any stress and pressure, to fall
in a dreamlike mindset, pushing the outside inside, on wings of freedom and recreation, into a
magical hidden dimension of an infinite space and of an infinite time, inside the heart of reality
and its celestial music, cloudy colors and appealing harmonies may for that reason better
represent the concentric, introverted and lunar aspect of life.

If you listen to music that is composed and based on these minor chords you will realize that
they are able to induce special feelings and moods that are often associated with some kind of
bluesy energy and state of mind: a nocturnal and lunatic atmosphere, a lack of heat and light, a
melancholic mood, as well as feelings of frustration, missing comfort, happiness and wellbeing,
sadness and nostalgia. They seem to reflect a more pessimistic mindset as well as a passive and
resigned attitude that is turned to introversion, to stagnation and to memories of loss and of
failure in the past. These memories of loss and of failure in the past may at their turn nourish
and later on turn into a strong personal desire of freedom, a daydream and an utopian hope for
a future dreamland of perfect peace, of happiness and salvation.

After this short expedition in the large field of existing analogies between optic harmonies and
the acoustic harmonies that we undertook in order to answer your question let me now briefly
address the other 2 essential dimensions of a Pranacubiste artwork, which are of paramount
importance, the spiritual and the social dimension.

Why are they so important? They open up and nourish the revolutionary cultural power of the
Pranacubiste movement.

Spiritual Dimension

An artist and author of a Pranacubiste artwork is convinced that the miracle of the universal
creation cannot result from nothing. Nothing, even and mostly if it exists can’t produce anything
and even less everything.

How can you seriously imagine that something that doesn’t exist, or even better, something that
is defined by the absence of all existence, could be the first cause and origin of all existence?

Something without existence cannot be the universal cause of all existence. Something without
consciousness cannot be the universal cause of consciousness. Something without intelligence
cannot be the universal cause of intelligence. Something without law and order cannot be the
universal cause of law and order.

Who is able to prove the truth of these statements? Everybody. How? Everybody can prove the
truth of these statements with the help of logical reasoning.
The above statements are as obviously true as it is true to say it can’t be day and night at the
same time in the same place. The above statements are as obviously true as it is true to say a
blind man cannot see with his eyes if his eyes don’t see anymore, a deaf man cannot hear and
a mute man cannot speak.

The author of Pranacubiste artworks has got the personal conviction, based on his observation
and careful study of nature and its elementary forces, that the common and universal cause of
all existence, the universal cause of the visible and invisible reality, necessarily contains what
it is able to produce.

Who remembers to have seen a water source, or better who could even imagine the existence
of a water source that does not contain any water, an iron source that does not contain any iron,
or a forest, a reservoir and source of wood that doesn’t contain any wood? Is there somebody
in this room who has ever seen such a source, and if not, is there at least anybody there amongst
you who might be able to imagine the existence of such a source?

Obviously not, and for the good reason that such a source simply doesn’t exist and for the better
reason that it is even impossible to imagine that such a source does exist. A source of something
necessarily contains something and contains necessarily something of what it produces.

Yet those who claim today as yesterday that consciousness in general and the spirit of man in
particular and the order of nature and the cosmos that reign could come from a universal cause,
could come from a source which is lacking what it produces, perhaps from something like
stardust or a nebula of black dead, which would itself be able to come out suddenly somewhere
in the universe from nothing, nobody knows where, when and how, jumping like a jumping
jack or a white rabbit from a black hat with a big bang, that is still roaming in our ears, those
specially trained and educated brains are not only rather numerous, (it seems that they represent
half of the population or more) but also more or less convinced that their thinking is not only
logic and reasonable but even supported and proven by modern science and recent scientific
discoveries.

The least we can say is that Pranacubisme does not share their views. But I can go further, at
the risk to shock your sensibilities. We believe that art and its influence on human conscience
should rather be able to stimulate the awakening and development of mind instead of denigrate
the signs of its presence or prevent its growth.

A so-called artwork, devoid of metaphysical reflection and without any spiritual dimension that
goes up to deny what is obvious to the intelligence and the mind, does not deserve to be called
art.

A widespread noise of astonishment, whispered protest and a well-known voice suddenly

coming up from the crowd of journalists in front of him.

Sorry to interrupt you, but with such an ideology you are certainly on the way to bury the liberty
of thought. Your pretended open-minded attitude, social engagement and your dream of
Cultural Revolution are stuck in the muddy water and condemned to stagnation like an in vitro
birth nipped in the bud. Why? Because for Pranacubisme the end of free thinking represents a
condition of cultural evolution. Your pseudo cultural movement is nothing else but a dangerous
plea of a cultural regression and a systematic degeneration of the evolutionary potential of our
society and civilization.
What I have heard right now is the opposite of what I hoped to discover in your movement.
Please, recover your senses before it is too late. Your dogmatism represents the total
suppression of our cultural freedom and introduces a comeback and conservation of intolerance,
obscurantism and the sad remembrance of the darkest ages of our history. Pranacubisme is a
pompous and fanatical announcement and a passionate prayer for the return of everything we
had overcome during the "age of the lights".

The Pranacubisme as you just described it, from the perspective of its so-called necessary
metaphysical and spiritual dimension, places itself in contradiction with the values of French
revolution, the progress of science and modern civilization.

Dear Sir Kingstroem, eminent guardian of modern science, protector of civilization, I am really
surprised to see you drift away so fast and so far from the truth, sitting in your damaged little
paddle boat of your prejudices that have no basis other than your misunderstanding, your
imagination and your personal beliefs.

First of all, do not worry, no one will push you back into your so called age of darkness, and
especially not the authors and artists of the Pranacubiste movement.

Please listen well, I won’t repeat this. Pranacubisme is an aesthetic and existential philosophy
that invites everybody to think about its contents before believing it. Nobody is forced to believe
what it says with a pistol or a knife on his chest. And if anyone, artist or not, is ready to approve
our philosophy and to join our movement, you can be sure that his decision is the result of a
personal reflection and a voluntary choice based on his free will, his liberty of thought and
expression. Ok?

If your opinions flatter your intelligence and faculty of logical reasoning, you are and you
remain of course absolutely free to believe what you want. You may not only believe that
nothingness exists, but also that nothing is able of everything, and so, basically, associate it
with absolute and divine power, and believe that it is responsible for creating the universe and
of all its contents. You can even honor and congratulate Mister Universe and call him the "blind
chance", universal and holy, who comes from nowhere and succeeds to be everywhere ready to
lead, control and supervise the creation of all planets and species in the universe, from the first
living organism to the present stage of humanity on earth, and all this in an absolute liberty and
freedom from the slightest trace of spirit, of consciousness or intelligence.

No problem, if you are convinced to be smart in thinking this, you are perfectly free to do and
believe in the phantasy products of your hilarious imagination. We are the first to respect your
personal convictions, even and especially if they are contrary to ours and if they can make us
laugh. But respect for the diversity of opinions that we have each other does not mean that all
opinions are equal or have the same value and the same degree of truth and righteousness. Isn’t
it, dear Watson?

If you still want to believe for example, that the earth is not round, but a flat planet, despite the
fact that proof of the contrary has already come to daylight several centuries ago, of course you
can do so. At least little children will be able to laugh on your joke. On behalf of your freedom
of thought and expression, you have the right to invent every joke you like and of course, we
respect your freedom and your talent of invention, and we will eventually laugh about your
joke, too.
But, Mr. Kingstroem, please, as long as you are unable to proof that the spiritual dimension of
man and the world and therefore the Pranacubisme which relates to it, is an illusion and a false
belief, please try to accept our right to think and believe something else and don't make us
responsible for your personal fear to fall back into the age of obscurantism and darkness.

Now that you have advanced with such an ardor your advocacy for a better world and your
unequivocal condemnation of our movement in the name of the so-called values of science, of
progress and modern civilization, can you prove that the existence of the universe and all it
contains comes from nothingness and explain, in front of your colleagues and our wide open
ears how this mysterious universal cause can produce what it does not contain?

No?

Thank you, so I would like to address the following subject, the social dimension of
Pranacubisme. You already know that 50% of the profit from the sale of a Pranacubiste artwork
are paid to an association that promotes humanitarian and social causes.

Dear journalists, I ask you to pay particular attention to the following subject.

We will now examine the social impact, the effects of individual and collective transformation
that are initiated by the production, distribution and reception of a Pranacubiste artwork, but
before let’s have a short look at the present role and status of traditional painters and their
activity in our society.

How many of these artists, do you think, can live from their art today? 1 amongst 100, 1 amongst
200, 1 amongst 300? How many of them can expose their paintings in art galleries, and have
such the opportunity to be known by the public? 1 amongst 100, 1 amongst 200, 1 amongst
300? And finally, how many artists, who started their career by copying a traditional painting
style have succeeded to create and establish their own style? 1 amongst 100, 1 amongst 200, 1
amongst 300? I have to disappoint you. We don’t know it, no serious study has been done
about it.

One thing seems to be sure, be an artist painter or become an artist painter, discover, confirm
and develop his talent, exhibit and present his works, find potential buyers, and finally sell his
paintings and live from his art, is an obstacle course which is mostly lost in advance. It has
nothing to do with the realization of a common professional activity, which offers a real
perspective to grow and feed his master.

The conclusions that can be drawn from this state of facts is not very encouraging, and their
basic teaching seems to be the following:

It is far better to learn and perform a real job than to follow an uncertain and often illusory
career of an artist painter.

Let us pause a moment on this notion of a "real job." What main criterion characterizes a "real
job" and distinguishes it from a "false job", that is to say from a professional activity that has
no future and no or very little use because the resulting products and services are so little
demanded that their sale cannot feed the one who offers them.
The main criterion that determines the value that we are ready to attribute to a profession, is
nothing else but its usefulness in the eyes of those who benefit from it. And the degree of its
usefulness is entirely determined by the nature of its social dimension.

Having said so, nothing has done more damage to the artists in art history than the notion of art
for art's sake. Why? It robs artistic activity of the slightest utility other than that of being a
mirror of his own pride, of his own vanity and imaginary creativity.

It would be hard to push the button of absurdity, of navel-gazing and of self-aggrandizement

still any further.

Can we imagine that the greatest artist painters of history who created their master pieces on
order of the highest institutions and representatives of their society and who had an comfortable
income would have approved such aberrant considerations and derogatory towards them and
towards their art? I don’t think so.

Which artists of the past or present, would accept that their profession is judged to be completely
devoid of social utility? And which artist would like to declare that his art has only a meaning
for himself and be ready to sign his own death warrant?

And if some artist painters, writers, musicians exist among us who are used to work in the
shadow of the recognition of the public and mercantile centers of the art market to the point of
being the only ones to believe in the value of their artistic work, does it proof the absence of
any social dimension of their activity? Do you think they adhere to the ideology and the doctrine
of art for art's sake? Or does it just an indicator of the existing gap between the will of the artists
to communicate their values and beliefs by means of their art and the reality of their social
isolation.

And if it turns out that an involuntary social isolation of the artist occults in many cases the true
social dimension of his work and thus prevents public recognition, reward and the social impact
of his work, who is the first to be blamed? His own inertia and inability to communicate, to
promote itself and to find its audience or is it the archaic inertia of a centralized commercial
distribution of Art that has to be held responsible for this situation.

Commercial centralization keeps the majority of artists out of view, out of public interest and
away from profit. The big players on the art market are interested in hiding them from the
public. They want to see them begging in the shadow of their dominant positions to better
monopolize the market and to better share the cake of the art celebrities between them.

What defines the value of any trade seems to be the quality and scope of its social function, of
its social dimension.

The baker, the butcher, doctor, plumber, taxi driver, building painter, they work all for the
solution of a client’s problem or the satisfaction of a vital need. And in this social, economic
and professional context we may ask what kind of vital need could be satisfied by an art craft
other than the artist's desire to express himself in and through his work?

Let's see to what kind of needs the traditional and modern crafts satisfy through their range of
products and services. Most of the jobs that are rewarded with a good income and social
recognition are meant to satisfy our so-called basic needs.

If a work of art clearly does not meet a primary need does it satisfy at least a secondary need? Or is it
just a mean to pass the time, a hobby and leisure activity that helps to distract us to relieve boredom.
In this case the treasure jealously guarded in giant libraries and art museums around the world would
represent in truth a heap of artificial and arbitrary products without real interest, a collection of objects
of pure futility with no real value for the development and cultural progress of man.

However the ancient and modern temples of art are still able to attract crowds of admirers to worship
the splendor of their outfit and the genius of their creators. Why?

Is it a gigantic operation of seduction and illusionism that has successfully captured our attention with
sophisticated advertising and marketing strategies and that has managed to scramble the normal
functioning of our senses? Are we stunned and immobilized in front of its magical prowess as rabbits
who are hypnotized before the piercing gaze of their predator? Where is the original cause of this
mysterious magnetic force that draws us into the eye of the storm and prevents us from using our
capacity for logic reasoning, and our reflexes of natural defenses?

The gossips say that artists, including artist painters are outlaws, illusionists and impostors who drape
themselves with ultimate qualities and creative powers that come back to God. Others, less aggressive
tongues ensure that even if their creative ability is very limited and restricted to illusion, their master
pieces manage to make us feel again the harmony and beauty of the original creation that we often
seem to have forgotten, trapped and taken by the torments of the mundane world and the urgent
claim of our daily affairs. As a result, after a bath and a good shower in Art, we feel somehow renewed
and reconciled again with the world around us. We are more responsive for the true beauty of life.
And last not least we seem to be more volunteer to resurrect, to repair and to refresh our lost ideals,
willing to give them a try again, a new and may be a last chance to survive and overcome the prison of
time. That’s why some classic art theories and literary movements such as Romanticism have often put
forward the pedagogical or educational responsibility of art.

I let you take the point of view you prefer. Just allow me to confirm the following. Pranacubisme does
not deny the educational responsibility of art. However there is no reason to confound artists with
teachers who have and who must have a readymade answer for each question of her students.

I let you take the point of view you prefer. Just allow me to confirm the following. Pranacubisme does
not deny the educational responsibility of art. However there is no reason to confound artists with
teachers who have and who must have a readymade answer for each question of her students.

The educational responsibility of the artist cannot be to answer each question that may arise in front
of his artwork. His educational responsibility should be a kind of competence and ability to ask the
right questions and to motivate and somehow enable his audience to find the right answers by his own
research and efforts of reflection.

No artist, how cultivated, educated and talented he might be, can do the job of personal inquiry and
self-realization instead of his audience. All he can do is encourage, motivate and nurture the desire to
start and pursue the arduous path of personal development by browsing and using its own resources
and its own efforts.

The interactive, communicative and educational function of art is an integral part of what the
Pranacubiste movement considers to be its social dimension. As you will see shortly, this goes well
beyond the desire and ability to entertain the crowds to make them forget at least for 2 hours the
stress and the harsh reality of their daily problems.

Dear present or future friends of the revival of art, let’s look around us and let's ask ourselves what is
left after the storm's devastating passage of false notions of art for art's sake in our modern cultural
space, gravely damaged, devastated and deserted? A field of ruins and life buoys, to which the latest
artists still cling in order to catch their breath and to continue swimming in the hope to reach the
popular or elitist current that could help them regain solid ground of social recognition and guaranteed
prosperity.

I will tell you, the last mobile of their creativity that is still alive, their last hope to catch their artistic
life insurance, seems to be their desire and ability to entertain the crowds, nothing else seems to have
survived from their ancient dream to fulfill their artistic vocation by becoming useful for themselves
and for of others.

The noble aspirations of our illustrious predecessors have turned into a mere struggle for survival.
Lacking a true and clearly defined cultural function, modern artists have transformed themselves into
animators in order to practice the only art that seems to matter today, the art of animation and
entertaining, the art to make laugh and cry an audience.

His audience is imagined as an inert mass, more or less conscious of itself and its hidden evolutionary
potential, and especially seriously damaged by problems, conflicts and pressures of everyday life. And
thus the priority task of the artist is that of a rescuer, who manages to get out the public of its rugged
and wreck stuck in robotics routine of his daily movements to give it first aid, a profound cardio
massage or zygotic massage, in order to revive the victim of the circulation accident at least for the
time of his intervention, the duration of his show.

From all sides they scramble now inside the media circus trying to capture their audience? And who
defines, determines or judges the artistic value of their performance? A little box placed in front of
their audience that states their presence and attention, a counter of individual views. Its role is to
measure the popularity of the animators, a basic but efficient clapometer to measure their power of
attraction and ability to keep their spectators glued on the screen, to make them laugh, cry and live by
procuration.

Obviously in our times the entertaining quality of an artwork seems to have become the only yardstick
and judgment of its value.

Why? The social objective of entertainment is to make diversion. As obligations and expenses of
modern life steadily increase they become a steadily increasing source of stress, anxiety, exhaustion
and nourish a state of chronic physical and psychological fatigue. In consequence the need for rest and
relaxation, recreation and entertainment tends to become a vital need for the major part of the
population, and even a vital need for stability and the sustainability of the entire productive and
reproductive, economic and cultural development of society.

The main mission entrusted in such circumstances to the artists is not to analyze and to understand
reality, and even less to change it, but to hide its tensions and inner contradictions under a veil of false
compliance, consensus and forgetfulness to consolidate and make reality more acceptable for us.

The Pranacubisme entirely rejects such a cultural nickname mission for the simple reason that he
interprets it as compulsory labor and unworthy of an artist’s true cultural status and social function.
We consider it as a regression and not as a cultural progress.
Artists are not meant to be marionettes and docile puppets in which lurks the hand of power, they
cannot be reduced to play the role of popular fraternity jesters who have the duty to amuse the gallery
to better hide the injustice of their vassals, the dark side of an ignoble noblesse and of a corrupt
bourgeoisie.

Dear journalists, I do not want to dwell on it more. You probably know better than me the conditions
under which your artists from all backgrounds do their job, trying to fulfill their contract and take what
is left of their social responsibility. I think it is not necessary to describe them further in this context.

By cons, you know very little or nothing at all about the conditions in which an artist who joined the
Pranacubiste movement, operates. In order to illustrate them better I will use a comparison with
another cultural area that you know well, the field of agriculture.

Imagine that you have changed your job and you find yourself in Ethiopia in the skin of a small coffee
producer. You are convinced of the exceptional quality of your crop, and you intend to sell it on the
world market at the best price possible. How do you follow and how do you achieve your goal?

You prepare 15-20 bags of coffee beans (or in other words 15 to 20 of your artistic master pieces) and
you send a sample to well established coffee shops. You hope that a store discovers your great product
and offers you to sell it at a high price allowing you to touch a small percentage of its earnings. And
after weeks of patience and doubt one shop agrees to respond and offers you a much lower price than
you expected. But since this is the only shop that is interested in your offer, you accept. You really
accept?

Do you have the choice? And what would be the alternative? You meet other coffee producers in order
to agree with them the foundation of a cooperative.

Why?

Union strengthens your visibility and your mutual weight on the market. Then you adopt the principles
of fair trade and of sustainable development to set minimum prices and get a guaranteed benefice.
You also develop team spirit in order to implement a shared political and social dynamic that benefits
to you and to your consumers. Well, the Pranacubisme advices artists who identify with its values and
its vision of art, to be inspired by their example, to adopt their organizational fair trade concept and
the vision of sustainable development and to transpose them in the field of art production.

Why?

Union strengthens your weight on the market. Then you adopt the principles of fair trade and the
vision of sustainable development to set minimum prices and get guaranteed benefice. Playing with
team spirit you implement a shared political and social dynamic that benefits producers and more,
consumers. Well, the Pranacubiste artists are inspired by their example and willing to adopt their
organizational fair trade concept and vision of sustainable development and to transpose them in the
field of art production.

How?

Step 1:
You optimize the quality of your artwork by integrating the new aesthetic concept and the spiritual
and social dimension of Pranacubisme. Then you optimize your production capacity by adopting the
digital edition cycle as well as its techniques of reproduction.

Step 2:

You join the movement of Pranacubisme in order to create a dynamic of collective and concerted
cultural action. Then you develop your distribution network in order to promote your own professional
interests efficiently but also those of your clients.

Step 3:

You adopt the rules and modes of fair trade organization and sustainable development in order to fully
implement the social dimension of your professional activity and to guaranty an acceptable minimum
income for you.

Do you have any questions about it?

Good morning, Mr. Abeba, Maurice Abeba, journalist and head of the cultural section of the
Senegalese “Daily Mirror”. Your fair trade development plan seems to be very interesting. But I wonder
who ensures the publication, the distribution and the sales of Pranacubiste artworks and how the
respect of minimum prices and minimum income of the artists can be guaranteed.

Thank you for this question Mr. Abeba. For Pranacubiste painters, the first exhibitions and distribution
relays are managed by the gallery owners who are willing to open their business to the Pranacubiste
movement and who are ready to expose its artwork.

What main argument is able to convince them? They will have the opportunity to be in the very first
line of a nascent cultural revolution.

Following the successful launch of their collection in established galleries, painters, musicians,
songwriters and writers, they all can look forward with confidence to open their personal gallery and
point of sale on the Internet. This next step of worldwide promotion empowers them to develop their
own distribution network. In parallel they can continue to work with gallery owners in other cities of
the world that are ready to welcome their art and our concept of cultural and social engagement.

But there is a third link in the chain of production and distribution of Pranacubiste artworks. And this
one is the most important because it demonstrates the social impact and the social commitment of
the movement, even if, at first glance, it seems to be the weakest and most vulnerable of all.

Do you know the people that will become the favorite target of our social engagement?

Well, they are not like busy passers, pedestrians, the men and women who hurry from one point to
another, their path is long and their time is short. No, these are the ones who have all their time, but
very few resources and nearly no force to walk further. Without a job and with so little income that
the street has become their home they are sitting on the frosty pavement nearly hopeless and they
solicit your help and your solidarity. Yes, they are the hopeless and homeless, but they are still
residents of your city.

If you believe it or not, some of them, will be there, in front of you, with our support. They will manage
itinerant galleries to promote a new variant of street art, to expose reproductions of Pranacubiste
artworks, ready to be offered and sold directly in the street to anyone who still has eyes to see, who
still has ears to hear, and who still has a heart to feel the essential union between life, beauty, humanity
and art.

Those of you who have the decency not to laugh too fast or not to believe that this would be a hoax to
get the buzz, they may naturally have a tremendous doubt about the effectiveness of such a
communication strategy. We hear them say: Pay attention, don't be a fool and please, you better stay
away. This is not only counterproductive but worse, this is a cultural suicide because of the lack of skills
and the disreputable environment concerned. Can you hear them, too?

We want to reassure you. First, this is by no means a communication strategy, a clever trick to attract
media attention, but a reflection of a true social commitment to raise attention and support of the
public. We want to empower artists and sensitive people all over the world to solve a social problem
that until further notice no world government has succeeded to solve, the problem of extreme poverty
and of extreme hardship. It pushes more and more people, solitary men, women and children, into
desperation and the devil arms of alcohol that pretend to be their only shelter, in their homeless life,
without dignity. They are thirsty, hungry and they cry, silently under the staring and denigrating eyes
of our blinded heart, of our lost humanity. Yes, they are thousands and they are sitting there in front
of us, in front of you, but still alone in the streets, they are ready to live and suffer until they die, long
before us.

And this happens today, every day, without anyone representing the rule of law and the republican
values of liberty, fraternity and equality, feels himself obliged to be concerned about their fate.

I can assure you here in front of you, journalists from around the world, the movement of
Pranacubisme and all artists unified under its waving flag do not only care about the fate of this new
kind of pariahs, these untouchable wretches of the New World. They provide them with material and
moral support, a social assistance, and even better: they offer a job, a business opportunity, a stable
income, a real shelter, and a new dignity, in short everything they thought they had lost forever before.

How can they do this? Remember the 50% social tax paid on the sale of a Pranacubiste artwork. Who
manages the budget and who benefits from it? The association of volunteer social workers, largely
artists themselves, is responsible to manage and spend the social funds for the revival and the
redemption of the forgotten class of society, for the modern untouchables and pariahs. It represents
both, the interests of the poorest and the interest of artists who are donating half of their profits. It
represents and embodies the dynamic, countable and engaged social value of their artwork.

What is the name of this association?

Capcoop'63. What is its mission?

Its mission is to program, realize and oversee a plan of social integration by means of an economic and
cultural development in 4 steps:

1.) It determines its target audience and the scope of its social action. It then identifies the needs of its
beneficiaries, their motivation and their capacity of cooperation.

2.) Capcoop63 pays and distributes promotional kits of Pranacubisme to its social target and provides
him a short but intensive training as manager of a Street Art gallery.
Instead of sitting on a pavement for begging the managers of street art expositions present their
showcase, their itinerant gallery of Pranacubisme and they explain on request its concept of social
commitment and of cultural transformation. Each promotion kit contains reproductions of art
paintings in various formats, ranging from the size of a postcard to the size of a poster ready to get
framed and fixed at a wall as an object of interior decoration. These "Street Art" managers of a new
kind will also be equipped with a smartphone and 2 hours of talk time and a speaker bar to present
demo tapes of artists and musicians and create a relaxed atmosphere. They also get leaflets with
excerpts from authors and flyers presenting the broad lines and principles of the movement, the list
of united artists as well as the web addresses of their virtual galleries and their personal sale points.
80% of the turnover of an itinerant gallery returns to his manager, a former homeless and hopeless
person who found thanks to its cultural commitment a rewarding professional activity, and with it a
dignity and a social status that he had lost before. The earning of a working day should allow him to
pay a hotel room for the night and to eat properly. The remaining 20% should allow him to get his next
promotion kit and thus renew the showcase of his itinerant gallery.

3.) Everyone who demonstrates his seriousness, his constancy and application in his new activity can
benefit in the medium and long-term from a social housing program that the association proposes
initially as an emergency solution to the housing services of the municipality concerned. This is a
construction program with pre-fabricated modules that are generally used on large construction sites
to house the logistics staff and provide them with areas for work and rest areas, offices, toilets,
showers and kitchen corners. The pre-fabricated modules are easy and quick to implement, not very
expensive in rental or hire purchase and they perfectly match the needs of a homeless during his period
of social and professional reintegration. The funds raised by the accession of committed artists should
cover the costs of printing promotional kits - graphics, tracts, pamphlets and CD album and DVD - but
also the costs of purchase, rental or hire purchase of the emergency housing solution. The municipality
or someone sensitive to our cause can provide plots to carry out the construction projects but may
also subsidize a portion of the construction costs, and the charges for supervision and for management.

4.) A second project development axis provides for the creation of green belts near the city in order to
develop collaborative gardens of 100 to 10000m2. Candidates for social and professional integration
will have the opportunity to invest their energy in scale of their motivation and, supervised by
volunteer workers of the association, in the organic farm plots of land available to them.

If the quality and quantity of their production is at the rendezvous they can consider to start their own
business by delivering bio baskets directly to their customers or to become employees of the
association involved in this case itself the sale of grown and harvested fruits and vegetables. Alongside
these activities workshops of cultural activities will be offered and run by volunteer artists of the
association, writing workshops, music, painting classes, and digital multimedia production. As this
integration project proves its efficiency for the poor, his primary audience, it can be extended to other
categories of needy people, such as young unemployed without professional qualification or persons
in detoxification therapy and socialization.

That’s the outline of the project of commitment and social transformation related to the Cultural
Revolution of Pranacubisme.

Do you still have questions about it?

Hello, Mrs. Bounemchi, Hawa Bounemchi, journalist and head of the cultural section of the Moroccan
“Daily Messenger”.
I have no questions for you, but want to commend you for your commitment and for your cultural
initiative. I wish you a successful launch of your movement, nationally and internationally. As far as I
am concerned, you can count on my support. Your goals are noble and deserve to be supported by a
wide audience. You aim to enhance the role of art and the artist in society, to enhance their social
status, but also their economic situation and on top of that you tackle social problems that our rulers
have failed to resolve in spite of all the means at their disposal. This is certainly a program which
deserves to be known and supported beyond political and ideological boundaries that divide not only
nations but all humanity. The idea of curing the social fraction that goes through and tear the very
heart of our societies by a cultural and civic action and the idea to consider our society as a potential
work of art that can be achieved through a collective public effort is not only revolutionary in itself,
but just great.

Thank you for this great encouragement and last word that I would not have been able to formulate
better than you. I hope that your colleagues from 50 different countries share your enthusiasm and
support. Thank you, thank you to you and to all your colleagues.

Mr. Louchenkow, Vladimir Luchenkov, I have one last question that bothers me and that I want to ask
you.

I do not understand why the religious fact is a constant in the history of humanity and why we will not
find a single anthropologist on earth, according to you, ready to deny its existence?

Mr. Louchenkov, I'll tell you why. Well, for the simple reason that man cannot live without religion and
even those who think they can are obliged to follow a religion, their religion.

I'll explain why.

The logic of our mind requires us to recognize, analyze and look for relationships of cause and effect,
isn’t it? The whole history and the richness of human and natural science is born from this operation
and logic that is inherent in our mind.

The human mind, our mind, is organized in this way.

You must obligatorily establish a link, a direct relationship, between the real world that surrounds us
and a cause that created it. That's the real meaning of religion.

Your mind requires you to establish this link or at least to try it. And furthermore, the ultimate cause
that we have to search and determine has to be universal, because the world that we can see inside
and outside of ourselves is of universal nature, our world is related in one way or another to the entire
universe.

Now, if you insist on not to award the universal power of creation to an omnipresent and omnipotent
God, as described and shown in traditional religious texts you are quite free to do so. You can attribute
the universal power of creation to something else, for example to nature or to matter, but as you see,
you are forced to attribute it to something.

Suppose you believe hard as iron, that the primary cause of the mind is matter and that material energy
has not only created your mind, but the whole universe. Well, in that case, what do you actually do?
Well you assign absolute powers of creation to matter or nature, in other words to something other
than God. You assign to other elements the divine powers that you do not want to attribute to God.
You deify the thing, energy, the dark force that you hold responsible for the creation of man and the
world, and therefore it has become, and it is now your God. In this case and perhaps without you even
noticing, nature, materialism or what you want else has become your religion.

You see, in this psychological, philosophical and anthropological sense it has become clear and evident
that man cannot live without religion. And if man rejects all kind of religions he knows he will be obliged
to create, from scratch if necessary, a substitute religion.

This personal religion, invented by himself or by someone else will become his religion and his reason
to be and will determine the way and the laws he will follow in life.

I hope that in the light of these explanations the following fact has become clear: The existential
question for man is not: Do you accept religion or do you reject religion? The existential question for
man is: How can I determine what religion among those available to me is relevant and scientifically
founded and what kind of religion is not.

Among the different religions that are available to us are found, one next to each other, the pantheistic
religion, the monotheistic religions, the polytheistic religions and finally, very popular in our time
supposedly enlightened and modern, atheistic religions that rake wide and that range from the
elementary materialism to existentialism and nihilism most refined in appearance.

So, let me emphasize one more time that our cultural movement does not impose any religion on
anyone. But since its founding co-authors from different artistic backgrounds have understood and
accepted the importance and the existential necessity of religion for man, we advise you strongly to
study the different solutions in depth and to make your choice knowingly and responsibly.

Thank you for your attention and for the opportunity you have given me to add these words to the
end.