Doctrine
Lineage
CoCA is not a break with art history. It is a continuation of it — the next move after the readymade.
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1874 · The room is built
The institutional line
CoCA reads itself into a longer history of artists restructuring their own institutions rather than waiting to be admitted — the lineage that runs through the 1874 independent exhibition, when painters built the room instead of begging entry to the Salon. CoCA builds the room, then declares it consecrated ground: the Cathedral for Art (§3.2.4).
And the line is literal, not literary. Paul Pissarro is the great-great-grandson of Camille Pissarro — the painter who, in 1874, decided the existing institutions wouldn't have him and built his own. Beside him, Jesse Do, a former Google and Capital One engineer, built the Church's entire technological infrastructure, the artist statement in eight languages, and the Diet Coke oracle — an AI system structured on the I Ching and CoCA doctrine. Together they operate as a single conceptual entity.
The lineage is not decorative. It is the founding asset. — The CoCA Mission, 05 / The Lineage
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Then · The idea becomes the work
After the readymade
Conceptual art established that the idea, not the object, is the work. CoCA takes the next step: if the idea is the work, then the structure that protects the idea is the cathedral. The readymade proved that context makes the art; CoCA makes the context permanent and calls it a church.
Documentation constitutes the aesthetic inquiry. — The CoCA Bible, Part I, Ch. III (The Doctrine of Reverence)
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Now · The context is consecrated
The line, drawn in full
For the full genealogy — Abelard to Adorno to Agamben, every thinker mapped onto CoCA doctrine — the dedicated text is The Glossary, Volume II of the Art Bible. This page only sketches the line; the Glossary draws it. Volume I — the Bible itself — is in print; The Wider Church records where it and every other surface of the communion can be found.