Manifestoon

from manifestar (Old Occitan, 13th c.) “to reveal,”
and festoon (French, c. 1686) “a chain or garland of flowers suspended between 2 points”

// these are ideal (guidelines), not necessary (restrictions)
// this is version 1 of 2021-01-05. It will change to reflect further intra-actions.

Dos:

  1. Embrace contrasts
  2. Find unexpected sources of propulsion and kinetic energy
  3. Be scarce, embrace pauses + silences: mind the gap
  4. Work quickly, and commit early to artistic decisions
  5. Performances of synthesis and editing
    both manifestooning gestures or abstractions

Dont’s:

  1. Don’t use samples from other peoples’ recordings, including sample libraries and generic reverb impulse responses
  2. Avoid rounded binary, ternary and arch formal structures:
    form is not an afterthought
  3. Avoid stereotypically recognizable parts, such as “drums”, “pad”, “lead” 
  4. Don’t use presets for plugins or digital instruments
  5. No 12-tet melodies: we tamper our music, we don’t temper it
  6. No 2/4 or 4/4 rhythms, we don’t want to bore the machines
  7. No steady clocks (“momma heartbeat” — Captain Beefheart)

Intra-actions:

  1. Pieces make audible Karen Barad’s theory of posthumanist performativity
    and the concept of intra-action
  2. Every piece explores the intra-action between two performances:
    one by each artist
  3. Any “object” can become an instrument
    if you listen carefully (aural intra-action)

Inspirations:

  1. Our own available light photography of the world “as it is,” where we take an anti-pastoralist and anti-futurist approach to visualizing “revealed nature” in its many forms
  2. Absurdist sound art / video art