FOR TEXT DIRECTIONS

FOR MUSIC DIRECTIONS

FOR MOVEMENT DIRECTIONS

FOR VIDEO DIRECTIONS

FOR CONDUCTION DIRECTIONS

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 ITS 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 EXPLICITLY 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.