directions for DIRECTIONS

FOR TEXT DIRECTIONS

FOR MUSIC DIRECTIONS

FOR MOVEMENT DIRECTIONS

FOR VIDEO DIRECTIONS

FOR CONDUCTION DIRECTIONS

Seyðisfjörður ICELAND FEBRUARY 8TH 2016

 

DIRECTIONS FOR DIRECTIONS

GIVE DIRECTIONS INTENTIONALLY

NO STOCHASTIC RESTRICTIONS, NO INDETERMINISM, NO CHANCE, NO NONCOMMUNICATIVE IMPROVISATIONS

 

GIVE ORIGINAL DIRECTIONS

NO CULTURAL APPROPRIATION, NO CELLULAR AUTOMATISM, NO NATURAL SELECTION, NO COMPOSITIONAL QUOTATION

 

GIVE CLEAR DIRECTIONS

ALL DIRECTIONS MUST BE ORIENTED TOWARDS CLARIFYING THE PERIPHERIES OF THE KNOWN & ELUCIDATING THE ENCAPSULATED VOID OF THE UNKNOWABLE

 

TEXT DIRECTIONS

WRITE WITH FLEXIBILITY

ALL WRITING IS TENTATIVE, PROVISIONAL, & EXPENDABLE

EDITING IS ACTIVE & PART OF THE PROCESS

 

WRITE WITH SPECIFICITY TO THE VOICE

GRAMMARS ARE SUBJECTIVE: CASTE SPECIFIC (OPERA) OR PERFORMER SPECIFIC (LIVE IMPROV SCENARIOS)

LANGUAGE IS A MEDIUM BOWED TO THE SPEAKEr

 

WRITE WHAT IS KNOWN TOWARDS THE UNKNOWABLE

GRAMMAR MUST BE EXTENDED TOWARDS THE ARTICULATION OF A KNOWLEDGE-SYSTEM & STRIVE TO CLARIFY IT'S PERIPHERY IN ORDER TO DELINEATE BETWEEN WHAT IS OR CAN BE KNOWN & THAT WHICH IS UNKNOWABLE

 

MUSIC

PLAY MUSIC WHICH IS NOT MUSIC

AVOID EXPLICIT LINGERING ON HARMONY, MELODY, RHYTHM, & OTHER ASPECTS OF RECOGNIZABLE MUSIC

SEARCH FOR THE BEAUTIFUL & MOVE TOWARDS THE SUBLIME

 

PLAY MUSIC WHICH IS NOT NON-MUSIC

AVOID EXPLCITLY LINGERING ON DISSONANCE, ABSTRACTION, & OTHER ASPECTS OF NOISE COMPOSITION OR ALEATORIC QUOTATION

SEARCH FOR THE UNBEARABLE & MOVE TOWARDS THE UNRECOGNIZABLE

 

PLAY MUSIC WHICH IS NOT ANYTHING OTHER THAN MUSIC

AVOID SYNESTHETIC TECHNIQUES EVOKING THE SONIFICATION OF IMAGE, FORM, TEXT, OR MOVEMENT

SEARCH FOR THE PUREST MANIFESTATION OF SOUND CREATION & AVOID INNOVATION

 

MOVEMENT

MOVE TOWARDS THE PERIPHERY OF ONES BEING

AVOID ENACTING STYLISTIC TROPES IN PREFERENCE FOR HIGHLY IDIOSYNCRATIC EXPRESSIONS OF SUBJECTIVE CONTENT

MOVE FROM THE CEREBRAL TOWARDS THE CORPOREAL

 

MOVE TOWARDS THE PERIPHERY OF ONES BODY

AVOID MINDLESSNESS & CRITICALITY IN PREFERENCE FOR ATTUNED ATTENTION TO THE SCRIM DELINEATING ONES SELF FROM ONES MEAT

MOVE FROM THE SKIN THROUGH THE ATMOSPHERE

 

MOVE TOWARDS THE PERIPHERY OF ONES ECOLOGY

AVOID ARTIFICIALLY DIFFERENTIATING ONES ATTENTION OF THEIR OWN DYNAMISM FROM THE MORPHOGENETIC FIELD WITHIN WHICH THEY ACT

MOVE FROM SUBJECTIVE CONTRACTION TOWARDS AN EXTENDED EXPANSION OF THE SENSES

 

VIDEO

FRAME MICRO-MOVEMENTS INTO META-TEXTUAL NARRATIVES

AVOID THE ALLURE OF CONTENT IN PREFERENCE FOR COHESION OF PARTICULATES

WEAVE VIDEO MATERIAL THROUGH A LOOM OF PROPRIOCEPTION

 

FRAME ACTIONS AS POTENTIAL-BECOMINGS

AVOID REACTIONS TO PRIORITIZE TRANSFORMATIONS

FOCUS THE POSSIBLE TOWARDS THE IMPOSSIBLE

 

FRAME AUDIO-VISUAL-DYNAMIC CONTENT INTO A FORMAL RUBRIC

AVOID REGURGITATING STYLE IN FAVOR OF EXPLORATIVE COMBINING

BIRTH A SYSTEM OF ALCHEMICAL DISCOVERY

 

CONDUCTION

CONDUCT ACTIVELY, AS AN OPAQUE A PROCESS OF READING

AVOID CREATIVE INTERPRETATIONS OF THE TEXT

ATTEMPT A LITERAL INTERPRETATION OF THE SCORE, AS A CONDUIT

 

CONDUCT PASSIVELY, AS A TRANSPARENT PROCESS OF SPEAKING

AVOID A REFLEXIVE FOCUS ON THE OUTPUT OF SIGNALS TO PERFORMERS

COMMUNICATE CONTENT WITHOUT COMMUNICATING COMMUNICATION

 

CONDUCT SUBVERSIVELY, AS AN OBSCURE PROCESS OF SEDUCTION

AVOID ONES OWN DESIRE, FETISH, OR WILL WHILE TRANSMITTING THE TEXT

MAINTAIN AN ACTIVATED STATE OF SEDUCTION WITH THE PERFORMER FOR AS LONG AS POSSIBLE