It constitutes for me a thought appellant, that does not stop oppressing to me since I tripped for the first time over the field of creative action ACT (ART/SCIENCE/TECHNOLOGY). I must confess that alive professionally obsessed to the specific paper of the artist in the multidisciplinary set than we called present Knowledge.
When I use to teach at the Faculty of Fine Arts or give Workshops, courses or conferences, always treatment to establish defined passages or (in its limits and their objectives and contents) towards the specific knowledge that assumes what should be the endorsement of the specific roll of these future artists at the time of participating in collective or interdisciplinary works. Because I have observed that when multidisciplinary projects set out in which artists participate, these almost never know with exactitude which would be its specific paper in the common table of work, and then, they begin to consider what is what they know how to do and what not, and if they have worried previously, in its formative process, to work a technical and conceptual set of tools whom they define accurately and it gives arguments to its social and cultural rolls.
Most lamentable it is than very few of the present schools and faculties of Fine Arts have considered in their formative programs and their curricula these questions, having turned the objectives, contents and matters that supply in a potpourri without a very defined goals.
I know that - to difference of many of my companions artists, more purists than I- I am part of the group of creators who thought that it is very exciting and flattering to know to us integral of the set of intellectuals who have accepted from the society the responsibility to formalize (give a precise shape) the world of the new ideas that constitutes the budding culture that, first we dreamed, soon we thought about serious and later we designed on paper (or screen), but that cannot live on because not yet we have learned to being users of the same.
Our contemporaries hope, as eager as excited, to recognize and recognize themselves through our creations the world that already think but that they not yet live in fullness. These creations are not constituted by the new images that will solely comprise of our imaginary contemporary, but also by those alternative symbolic systems, whose allegorical and metaphorical constructions will allow the wished usability of the new operative mechanisms of the expanded knowledge that will formalize this Culture.
As the Renaissance artists and creators did during century XIV, when they constructed the perspective system able symbolically to contain functional and the harmonic and unified representation of the new ideas -whose conceptual medullar center was not but an unpublished human conception (and, therefore, vision) of the world, at present, Internet is trying to becomes the system (not only functional, but also conceptual and symbolic), able to unify all the strategies that mark the conception (vision and action) on the world that we have occurred in living (and therefore in dreaming), and that must contemplate and assume parameters such as virtual, interactive, ubiquous, multimedia and multifunctional, linguistic heterodox, and global (or glocal).
For this enormous and exciting task, updated artists (and the creators generally) must irremediably work in communion with the rest of intellectuals and thinkers, of scientists and technologists, sharing the common passion by the development of this task, being understood mutually, feeding back themselves in an never-ending loop and assuming perfectly defined specific rolls inside the complementary work.
Each of them have to know accurately what profile and what background guarantees to him, which are their strengths and their weaknesses, what languages and specific tecno-functional strategies to be used, in what moment they must act in solitude and which of joint form, shared.
They must design between all the interrelation system of its contributions and to construct for it a Culture of the interdisciplinary that allows to reach this longed for transdisciplinar knowledge (in its etymological sense of cross-over), that will only be able to be reached from an education oriented in this direction.
These are part of the important reasons that take to me to deal with continuously to understand the evolution of the roll of the artist in the set of the work for the construction of the knowledge and of the contemporary ideas and to reach therefore a certain understanding about which it is to us own and specific and of they are not more than banal and mistaken incursions in fields of the knowledge that are fields that belong to other people's disciplines.
